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Music  as  a  Human  Need 

A  Plea  for  Free  National  Instruction  in 

Music. 


BY 

Alma  Webster  Powell,  A.M.,  Mus.B.,  LL.B, 


1' 


Submitted  in  Partial  Fulfilment  of  the  Requirements 
For  the  Degree  of  Doctor  of  Philosophy 

in  the 

Faculty  of  Political  Science 

Columbia  University. 


New  York 
1914 


This  work  is  gratefully  dedicated  to  my  husband, 
Mr.  A.    Judson  Powell 


Copyright,  1 9 14,  by  Alma  Webster  Powell 


TABLE  OF  CONTENTS 

PAGE 

Preface 5-i7 

PART  I.— THE  THESIS. 

Chapter  I. 
Music  as  a  Human  Need 19 

Chapter  II. 
Music  and  Motion 31 

Chapter  III. 
Group  and  Individual  Reaction  to  Music  41 

Chapter  IV. 
Toneurology:  A  New  Branch  of  Study 56 


PART  II.— THE  INTER-REACTIONS  OF  MUSIC  AND 

NATIONAL  LIFE. 

Chapter  V. 
Italy   (1800-1913)    61 

Chapter  VI. 
England   (1800-1913)    68 

Chapter  VII. 
Germany   (1800-1913)    ;.... 7^ 

Chapter  VIII.      %^    «^  ^ 
France   (1800-1913)    -0^9^  ■ '^^^1^^'       ^^ 


Chapter  IX. 
United  States  (1800-1913) VV.^^i 


^ 

M 


305644 


APPENDICES. 

PAGE 

Appendix  A. — Questionnaire     97 

Appendix  B. — Sources  of  Statistical  Material 99 

Appendix  C. — Tabulation  of  Foreign  State  Subventions.  .  loi 

Appendix  D. — Notes  on  the  Tabulation  of  Foreign  State 

Subventions    103 

Appendix  E. — Communications   112 

Appendix  F. — Bibliography    138 

Vita    143 

Index    144 


^^tf''' 


PREFACE 

It  will  be  observed  that  in  the  following  pages 
political  and  economic  events  are  presented  in  their 
aspect  of  emotion-producing  forces  in  social  pressure, 
with  but  scant  attention  to  their  other  values.  An 
artificially  selective  process  must  also  be  acknowl- 
edged in  that,  of  those  events  only  such  as  seem  to 
have  produced  a  direct  emotional  reaction  upon  a 
people  have  been  considered.  Those  long  continued 
economic  movements  which  produced  no  sudden 
changes  have  not  been  taken  into  account,  because 
what  may  be  termed  their  disturbing  effects  were 
too  gradual  to  allow  of  their  being  included  among 
specific  emotion-making  forces* ;  slow  changes  are 
not  sensed  by  whole  peoples.  Uneducated  masses, 
especially,  do  not  become  conscious  of  progressive 
movements  until  their  effects  are  so  apparent  as  to 
require  consideration  by  reason  of  aroused  emotional 
reaction.  The  history  of  a  slow  transition,  there- 
fore, may  be  for  the  scientific  purposes  of  this  in- 
vestigation unimportant  as  compared  with  the  some- 
what dislocated  perturbance,  which  resulted  at  the 


*Luii2   labor   movements   which    are    conceded   to    be   slow 


emotion-making  forces  are  not  included. 


6  MUSIC  AS  A  HUMAN  NEED 

moment  when  the  events  under  consideration  were 
happening,  and  calling  forth  a  reaction  definitely 
emotional.  Moreover,  at  such  a  precise  moment, 
the  events  may  have  been  raised  to  social  conscious- 
ness, not  as  they  appear  to  us  In  the  clear  afterlight 
of  scientific  attitude  and  historical  accuracy,  but  as 
popular  concepts  of  the  moment,  having  power  to 
arouse  intense  national  emotional  reaction;  similar 
recent  popular  waves  of  feeling,  due  not  to  facts  as 
they  are,  but  to  popular  conceptions  of  such  facts, 
will  readily  occur  to  each  reader. 

With  this  warning  that  not  the  dignity  of  history, 
but  the  intensity  of  public  emotionalism  is  within  the 
purview  and  area  of  our  investigation,  we  may  pro- 
ceed to  a  statement  of  the  method  and  of  the  gen- 
eral thesis. 

flhe  method  to  be  pursued,   is  to  examine  con- 
temporaneous   and    concurrent    public    events    and 

^motion  products,  as  expressed  in  Music. 
The  results  indicated  may  be  given  a  preliminary 

tatement  as  follows: 

1.  Agitation  is  a  cause  of  pulse  disturbance. 

2.  Sufficient  agitation   produces  fatal  disturbance 
of  bodily  rhythm. 

3.  All  strong  emotions  are  disturbers  of  rhythmic 
motion  throughout  the  body. 

4.  Rhythmic  motion,   too   often   disturbed,   leads 
to  abnormal  mental  and  physical  conditions. 


PREFACE  'f^ 

5.  Civilization   constantly   "disturbs"   the   bodily 

rhythm. 

6.  The  political  and  industrial  troubles  of  a  na- 

tion are  signs  of  national  "disturbance"  of 
rhythm. 

7.  Music,    closely   expressing   the   emotional   life 

of  each  period,  is  the  unconscious  application 

of  a  remedy  to  a  human  need  of  rhythmic 

stimulus. 

These  points  are  part  of  the  general  thesis,  which 

may  be  stated  in  the  following  terms:  MUSIC  IS  A 

HUMAN    NEED,    INCREASING    AND    DE- 

CREASING  WITH  SOCIAL  PRESSURE. 

The  tendency  of  a  group  in  each  stage  of  human 
development,  is  to  produce  Music  fitting  the  char- 
acter of  the  social  disturbances  of  its  time,  and  com- 
munities which  most  fully  meet  this  need  of  rhythm 
by  national  culture  of  Music,  tend  to  preserve  for 
longer   periods,    the    serenity   of   the    public   mind^ 
Thus  it  will  be  seen  that  national  control  and  sup- 
port of  Music  may  be  assumed  to  be  a  national  duty. 
This  control  and  support  will  aid  in  the  preservation^ 
of  a  healthy  state  of  the  public  mind.     Such  a  con-\ 
dition  will  make  more  effective  all  other  efforts  for  \ 
the  abolition  of  discontent,  disease,  vice  and  crim-  j 
inality.  "^    ' 

National  culture  and  support  of/  Music  are  effec-  ' 
tive  means  of  exercising  social  control,  because  of 


8  MUSIC  AS  A  HUMAN  NEED 

the  calming  Influence  of  Music  upon  disturbed 
thought.  Such  an  influence  Is  a  most  necessary  one 
/  at  the  present  stage  of  mental  agitation.  Estab- 
lished within  disturbed  zones,  national  Institutions 
for  free  musical  Instruction  would  place  a  check 
upon  strained  intellectualism,  with  its  brood  of, 
monstrosities,  slncej  Music  wouTd^ause  a  relaxatlor 
of  mental  concentration.  I_t  is  a  matter  of  experi- 
ence,  that  relaxation  of  tension  generally  accom- 
^niej  the  yielding  of  the  excited._roiDd  to  musical 
rhythm^  „.— - 

Furthermore,  there  are  other  and  not  inconsider- 
able arguments  for  the  national  support  of  Music. 
On  account  of  the  great  expense  of  a  musical  educa- 
tion, much  promising  American  talent  is  now  de- 
prived of  cultivation.  To  all  persons  evidencing 
marked  musical  ability,  and  showing  themselves 
worthy  of  aid,  this  rich  country  should  give  national 
support. 

American  national  instruction  in  Music  Is  also  a 
duty  to  American  industry  because  such  Instruction 
would  open  the  employment  field  in  Music  to  Ameri- 
can wage  earners.  Some  idea  of  the  amount  of 
private  business  along  this  line  may  be  gained  from 
the  following: 

MUSIC  IN  THE  WEST.* 
If  music  seems  a  needless  luxury  to  some,  what  will  they 

*The  Literary  Digest,  January  lO,  1914. 


PREFACE  9 

think  of  the  cold  economic  fact  of  Chicago  spending  $30,000,000 
in  one  year  for  musical  instruments  of  all  kinds,  sheet  music, 
music-books,  musical  supplies,  and  music  lessons?  This  figure 
is  "based  on  reliable  information,"  says  Mr.  D.  A.  Clippinger, 
in  The  Musician  (Boston),  and  he  intimates  that  this  yearly 
expenditure  of  one  Western  city  is  only  typical  of  what  the 
great  expanse  of  our  country  beyond  the  Appalachians  is  doing. 
It  will  be  observed  that  this  sum  does  not  include  what  is  spent 
to  hear  music,  but  to  gain  instruction  in  it. 

At  present  America  is  obliged  to  depend  both  for 
her  best  Music  and  musical  instruction  largely  upon 
foreign  talent.  With  national  support  of  her  own 
talent,  this  deplorable  condition  would  soon  cease. 
This  would  also  free  Americans  from  absolute  de- 
pendence upon  private  institutions. 

Music  has  also  become  an  important  industry,  em- 
ploying a  vast  number  of  agents.  It  is  high  time 
that  this  employment  were  placed  within  reach  of 
American  labor.  Such  an  end  can  be  attained  only 
by  furnishing  adequate  training  for  this  skilled  work. 
At  present  foreigners  are  the  agents  for  the  satis- 
faction of  this  need  for  rhythm  in  orchestras,  bands, 
hotels,  restaurants,  church  choirs,  studios,  clubs, 
steamships,  operas  and  at  social  functions.  An  im- 
portant wage  earning  occupation  is  thus  out  of 
reach  of  our  own  talent. 

It  may  be  argued  that  considerable  expense  is 
already  incurred  by  municipalities  and  states,  for 
training  In  musical  appreciation  in  the  form  of  con- 
certs,   public    school    instruction,    park    bands,    etc. 


lO  MUSIC  AS  A  HUMAN  NEED 

These  expenses  are  admittedly  very  large  and  yet 
what  is  their  productive  value  along  the  line  of 
musical  instruction?  What  is  the  real  value,  for 
instance,  of  the  many  thousands  of  dollars  annually 
expended  upon  public  Music  in  a  city  like  New 
York?  The  educated  listener  finds  the  programs 
faulty,  falling  far  short  of  a  true  expression  of  a 
composer's  idea,  while  to  the  uneducated  hearer,  it 
is  principally  a  diversion  of  his  attention,  without 
teaching  him  anything.  The  establishment  of  musi- 
cal departments  in  colleges  will  never  be  able  to 
meet  this  crying  need.  The  majority  of  the  institu- 
tions which  depend  even  in  part  upon  tuition-fees 
received  from  their  pupils,  reach  the  least  needy  of 
our  people,  and  sometimes  the  least  talented.  Where 
the  industrial  shoe  pinches  the  hardest,  there  is 
where  the  national  social  or  political  danger  lies, 
and  there  is  where  the  need  is  greatest.  Where 
the  social  pressure  is  most  felt,  there  is  formed  a 
mine  of  musical  diamonds.  Neither  the  city  nor 
the  state  can  so  control  musical  development,  as  to 
produce  a  national  type  in  musical  composition. 
Music  is  a  universal  need,  passionately  craved  by  the 
nation's  children.  Hence  our  federal  government 
should  attend  to  this  demand,  which  is  becoming 
more  and  more  insistent  every  day,  indicative  of  a 
national  want.  We  venture  the  not  idle  prophecy, 
that  the  whole   American   nation  would   cheerfully 


PREFACE  1 1 

bear  a  tax,  for  so  good  a  work  as  the  establishment 
of  national  free  schools  of  Music  all  over  our  land. 
That  European  countries  have  recognized  this  need 
is  shown  by  the  statistics  which  will  be  found  below.* 
These  statistics  were  very  difficult  to  procure,  and 
are  rather  surprising  in  content. 

A  copy  of  the  questionnaire  sent  out  will  be  found 
in  Appendix  A.  The  nations  from  whom  we  ex- 
pected the  least  expenditure  for  musical  culture, 
were  found  to  be  the  most  lavish.  The  United 
States  stands  apart  from  the  world's  array  of  musi- 
cal patrons.  The  recent  interest  in  Indian  and 
Negro  Music  may,  however,  prove  an  entering 
wedge  to  a  wider  cultivation  of  our  national  musical 
resources.  Our  State  universities  and  our  public 
schools  are  institutions  of  which  the  nation  is  justly 
proud.  Why  not  open  your  arms  a  little  wider,  gen- 
erous America,  and  take  into  your  embrace  your 
own  fair  musical  child,  now  so  weak  and  puny,  but 
full  of  promise  for  the  future?  The  hope  of  the 
writer  is,  that  this  cry  will  be  heard  by  the  nation's 
head. 

With  such  national  support  in  View,  we  have 
gathered  our  statistics.  City  ventures  are  not  con- 


*Appendix  E, 


12  MUSIC  AS  A  HUMAN  NEED 

sidered;  park  bands,  military  bands,*  new  buildings 
for  national  musical  academies,  in  short,  all  outlays 
for  Music  not  tending  to  contribute  directly  toward 
the  musical  education  of  the  people  under  considera- 
tion, are  omitted.  Thus  the  large  contributions  of 
cities  for  public  entertainments  are  left  out  of  our 

/calculation  entirely.  The  United  States  has  not 
fallen  into  line  with  European  countries  in  national 
culture  of  Music,  but  probably  this  is  simply  because 
the  attention  of  our  nation  has  not  hitherto  been 
called  to  Music  as  a  health  measure.    Too  much  ink 

^as  flowed  in  describing  Music  as  a  diversion,  as  an 
amusement,  as  an  ideal,  as  a  superfluous  luxury, 
whereas  no  greater  physical  and  mental  need  exists, 
than  the  unconscious  physical  need  of  rhythm,  the 
conscious  physical  need  of  Music. 

The  world,  it  is  true,  may  not  at  once  accept  the 
theory  of  "rhythm"  herein  set  forth.  An  investiga- 
tion of  it,  however,  would  bring  about  some  new  and 
interesting  discoveries,  in  regard  to  unsuspected 
effects  of  Music  upon  the  nervous  system.  In  any 
case.  Music  is  a  wonder  worker  which  should  now 
occupy  the  attention  of  sociologists,  psychologists, 
and  physicians. 


*Reference  is  to  hired  bands,  not  made  up  of  musicians 
trained  for  the  purpose  by  the  Federal  Government.  Such 
training,  as  in  England,  constitutes  an  important  form  of  vo- 
cational training. 


PREFACE 


13 


Music  has  been  generally  regarded  as  the  lan- 
guage of  the  emotions,  but  it  has  never  been  deter-^ 
mined  why  these  emotions,  having  art,  poetry,  the 
dance,  and  many  other  means  of  partial  expression, 
so  insistently  require  sound  for  complete  self-realiza- 
tion. The  beat  of  the  pulse  and  the  measure  in 
Music  are  similar  rhythmic  expressions,  but  the  close 
relation  of  one  to  the  other  has  heretofore  been 
ignored.  Yet  groups  have  a  pulse;  history  has  a 
pulse;  the  phenomena  of  the  physical  universe  have 
a  pulse;  all  life  manifestations  are  demonstrations 
of  pulse  action. 

What  becomes  of  the  countless  millions  of  musi- 
cal sound  vibrations  sent  into  space  by  the  orchestral 
performances  in  a  great  city?  Are  they  all  impotent, 
reaching  only  to  the  auditory  organs,  and  dying 
there?  Or  do  they  actually  enter  the  human  system 
and  set  to  their  own  perfect  rhythm,  all  of  the  dis- 
cordant motions  therein  encountered?  Do  they  not 
"act  as  stimuli  on  the  sensitive  psychoplasm  and 
effect  changes  in  its  molecular  composition?"* 

All  rhythm,  however  divided,  is  perfect  motion. 
Rhythm,  acting  upon  a  disturbed  motion,  tends  to 
impose  its  own  motion  upon  the  discord,  if  stronger 
than  the  disturbance  encountered.  This  theory  not 
only  imputes  a  higher  mission  to  Music  than  has 
heretofore  been  realized,  but  also  accounts  for  phe- 


*Riddle  of  the  Universe,  by  Ernst  Haekel,  p.  no. 


14 


MUSIC  AS  A  HUMAN  NEED 


nomena  of  organized  sound  vibrations,  and  for  the 
craving  of  all  human  life  for  Music.  This  passion- 
ate desire  for  Music  is  an  established  fact,  and  it 
remains  but  to  show  the  need  of  this  Inspiring  sound 
stimulus,  in  order  to  place  Music  in  the  list  of 
.   recognized  national  necessities. 

The  willing  response  of  Austria,  Bavaria,  Belgium, 
Denmark,  England,  Equador,  France,  Holland, 
Hungary,  Italy,  Norway,  Russia,  Saxony,  Sweden  and 
the  United  States  to  the  author's  request  for  musical 
statistics  merits  special  mention.  Prussia  alone  of  the 
nations  applied  to  for  statistics  appeared  either  un- 
willing, or  unable  to  furnish  the  same  regarding  her 
national  support  of  Music.  The  author  shared  the 
general  opinion  that  Prussia  led  the  world  in  this 
field.  But  although  requested  through  proper 
official  channels,  from  several  influential  quarters,  no 
response  was  obtained.  A  cable  from  the  United 
States  Consul  in  Berlin  says  that  the  musical  "statis- 
tics are  unavailable."  The  letter  from  the  Minister 
of  Saxony  may  give  some  insight  into  the  real  con- 
dition of  German  musical  support,  and  as  such  it  is 
added  in  Appendix  E.* 

The  Appeal  In  this  work  is  for  a  system  of  public 
musical  Instruction  upon  the  principles  governing  our 
public  school  management.     This  would  be  a  step  in 


*The  highly  prized  originals  of  the  foreign  ministerial  let- 
ters are  preserved  and  in  the  writer's  possession. 


PREFACE  15 

advance  of  the  systems  of  governmental  support  of 
musical  institutions,  as  represented  in  the  statistics 
included  in  this  work,  which  systems  generally  place 
a  small  charge  upon  those  pupils  who  are  able  to  pay. 
All  of  these  institutions  admit  to  full  privileges  free 
of  any  charge,  the  exceptionally  talented  among  the 
poor.  The  object  of  each  such  institution  as  we  ad- 
vocate, should  be  the  support,  by  the  government, 
of  native  musical  talent,  without  regard  to  profit 
or  loss  in  the  management.  Music  is  one  of  those 
sciences  which  do  not  attract  the  untalented  to  their 
study,  and,  this  being  the  case,  little  loss  of  instruc- 
tion is  involved.  The  proper  study  of  Music  in- 
cludes so  many  of  the  regular  public  school  studies, 
and  so  much  of  the  elements  of  higher  education,  as 
Psychology,  Biology,  Sociology,  Physics,  Economics, 
Social  Legislation,  History,  Languages,  Literature, 
Physical  Training,  Self-Control,  to  say  nothing  of 
the  mathematical  studies  included  in  such  branches 
as  orchestration,  harmony,  counterpoint,  etc.,  that  a 
model  musical  college  would  furnish  an  education 
and  culture,  far  more  beneficial  to  individuals  and 
the  group,  than  is  offered  by  some  of  the  present 
systems  of  education.  The  immediate  cost  would  be 
immense,  but  the  author  is  convinced  that  this  outlay 
would  bring  quick  returns,  in  decreasing  costs  for 
the  protection  of  the  native  individual,  from  many 
of  the  effects  of  nerve  derangement  in  children  and 


^ 


1 6  MUSIC  AS  A  HUMAN  NEED 

in  adults,  in  lessening  discontent,  riots,  antagonism 
between  labor  and  capital,  and  many  manifestations 
of  partial  insanity.  In  short,  such  a  system  is  a 
prime  factor  in  social  control,  to  the  lack  of  which 
may  be  ascribed  in  some  measure  the  present  peril 
to  civilization. 

We  take  this  opportunity  to  express  our  indebt- 
edness for  the  statistics  furnished  in  each  case  to  the 
following  gentlemen,  who,  either  in  their  official 
or  in  a  private  capacity,  replied  to  the  questionnaire 
submitted,  and  whose  co-operation  has  been  invalu- 
able in  our  attempt  to  present  the  most  recent  con- 
ditions of  State-aided  Music  abroad:  Wilhelm  Bopp, 
Director  of  the  Imperial  and  Royal  Academy  of 
Music  and  Fine  Arts,  Vienna,  Austria;  M.  Steiner, 
Minister  of  the  Interior  for  Religion  and  Schools, 
Bavaria;  M.  Phillis,  Minister  of  Arts  and  Sciences, 
Belgium;  J.  Clan,  Danish  Consul-General  in  New 
York,  and  Cornelius  Rubner,  head  of  the  Music 
Department  of  Columbia  University;  Olmedo  Al- 
faro,  son  of  the  President  of  Equador,  and  the  Di- 
rectors of  the  Conservatory  of  Quito,  Equador; 
A.  W.  Twenlyman,  of  the  English  Education  Board, 
London,  England;  I.  Philipp  of  the  Paris  Conserva- 
tory; Th.  Heemskerk,  Minister  of  the  Interior,  Hol- 
land; Luigi  Credaro,  Minister  of  Public  Instruction, 
Rome,  Italy;  Ole  Olesen,  Military  Inspector  of 
Music,  Norway;  Wm.  Thackara,  American  Consul- 
General,  Berlin,  Germany;  Alexandre  Lyssakovsky, 


PREFACE  17 

First  Secretary  of  the  Russian  Embassy,  Washing- 
ton, D.  C;  (Graf)  Vitzhum  von  Eckstaedt,  Min- 
ister of  the  Interior,  Saxony;  Bror  Beclcman,  of  the 
Royal  Conservatory  of  Music,  Stockholm,  Sweden; 
L.  A.  Kalbach,  Chief  Clerk  of  the  United  States 
Bureau  of  Education,  Washington,  D.  C. ;  Mr.  Wm. 
H.  Taft,  ex-President  of  the  United  States;  Naray- 
Szabo,  Secretary  of  State,  Hungary,  and  Dr.  Paul 
Majewsky,  Chief  of  the  Fine  Art  Section  of  the 
Royal  Hungarian  Ministry  of  Public  Worship  and 
Education,  Budapest. 

Gratitude  is  due  also  for  the  inspiration  found  in 
the  courses  of  studies  pursued  under  the  direction  of 
the  following  Columbia  professors:  Dr.  F.  H.  Gid- 
dings  in  Sociology,  Dr.  Henry  Seager  in  Economics, 
Dr.  S.  McC.  Lindsay  in  Social  Legislation,  Dr.  E. 
R.  A.  Seligman  in  Economics,  Dr.  J.  B.  Clark,  Dr. 
A.  A.  Tenney  in  Sociology,  Dr.  R.  E.  Chaddock  in 
Statistics,  Dr.  C.  Ruebner  in  Music,  and  Dr.  V.  G. 
Simkhovitch  in  Economics.  Not  one  of  these  courses 
has  proved  superfluous  in  the  present  dissertation, 
and  we  are  proud  indeed  that  Music,  so  long  con- 
sidered as  a  luxury,  can  show  the  relations  to  the 
interests  which  they  represent.  Especially  great  is 
our  obligation  to  Professors  Giddings,  Seager, 
Chaddock,  Lindsay  and  Ruebner. 

Our  sincere  thanks  are  due,  in  the  gathering  of 
these  statistics  to  Commendatore  Eugenio  di  Pirani, 
President  of  the  American  Philharmonic  Academy. 


PART  I. 
THE  THESIS. 


CHAPTER  I. 

Music  as  a  Human  Need. 

Our  thesis  contemplates  a  new  phase  in  psycho- 
logical and  sociological  study,  one  wherein  we  must 
endeavor  to  estimate  the  part  played  in  mental  and 
environmental  development,  by  vibration  as  the 
acting  force. 

In  whatever  direction  we  turn,  Music  is  met  with 
in  one  form  or  another.  The  undoubted  fact  that 
Music  is  not  confined  to  the  human  species,  but  is  a 
part  of  bird  and  other  animal  life,  is  strongly  indica- 
tive that  there  is  sqmethingjrnore  in  Music,  than  its 
apparent  pleasurable  quality,  and  that  beneath  Its 
array  of  superficial  forms,  there  mnst  lie  some  great 
fundamental  necessity  for  its  existence  and  function- 
ing. Upon  it  may  depend  the  preservation  of  the 
life  of  certain  complex  living  organisms. 

Darwin's  theory  as  expressed  in  "The  Descent  of 
Man"^  seems  to  us  not  to  touch  the  real  source  of 
the  phenomenon,  and  in  Spencer's  "Illustrations  of 

19 


20  MUSIC  AS  A  HUMAN  NEED 

Universal  Progress,"  the  latter's  theory  of  the 
Origin  and  Function  of  Music-  seems  to  us  to  omit 
the  greatest  factor  in  Music.  Spencer's  idea  is  that 
all  Music  is  an  idealization  of  the  natural  language 
of  passion,  but  the  nature  of  passion  does  not  in 
reality  lend  itself  to  Music,  because  passion's  spon- 
taneity of  action  forever  forbids  the  exercise  of  that 
control  which  is  needed  in  the  performance  of  Music. 
Wallaschek,  in  "Primitive  Music, "^  claims  that 
Music  is  the  result  of  the  original  rhythmical  imr 
pulse  in  man.  This  last  mentioned  theory  approaches 
more  nearly  the  theory  advanced  by  us  in  the  present 
work,  namely,  that  Music  originates  in  man's  need 
of  rhythmical  sound-vibrations,  for  the  re-establish- 
ment of  rhythmical  motion  in  his  own  nervous  sys- 
tem, disturbed  by  the  evolutionary  increase  of  mental 
action  not  rhythmically  employed.*  In  order  to  view 
the  subject  fully,  and  in  all  its  implications,  we  must 
retrace  the  path  of  evolution  to  that  point,  where 


^  Part  II,  p.  375:  "The  true  song  however  of  most  birds  and 
various  strange  cries  are  chiefly  uttered  during  the  breeding 
season,  and  serve  as  a  charm,  or  merely  as  a  call-note  to  the 
other  sex." 

2  Vol.  II,  Chap.  19. 

2  Chapter  9. 

*  If,  as  Haekel  says  in  "The  Riddle  of  the  Universe,"  p.  116, 
"When  the  mimosa  roots  are  shaken  by  the  tread  of  a  passer- 
by, the  stimulus  is  immediately  conveyed  to  all  the  cells  of  the 
plant,"  may  not  the  far  stronger  stimulus  of  musical  sound  be 
similarly  transmitted  to  the  human  cells  not  directly  concerned 
in  hearing? 


MUSIC  AS  A  HUMAN  NEED  21 

the  living  thing  which  later  developed  into  the  man 
of  today,  first  found  itself  in  possession  of  locomo- 
tion agencies  and  prehensile  appendages,  and  first 
began  to  move  about  in  search  of  energy  materials, 
with  which  to  satisfy  an  inward  need  of  integration. 
The  first  thing  that  moved  began  to  dissipate  its 
motion,  and  to  "need"  corresponding  integration. 
Rhythm  marked  this  primitive  inward  action,  undis- 
turbed by  ideas;  rhythm  also  governed  the  external 
stimulus.  This  prehistoric  atavus  ate  when  hungry, 
or  when  he  could  get  food,  his  need  being  rhyth- 
mical, at  the  time  when  fruit  and  nuts  offered  easy 
satisfaction  of  a  rhythmic  hunger;  he  awoke  at  day- 
break, and  slept  with  the  sun;  rhythmic  at  all  times. 
Now,  therefore,  this  early  man's  circulation  and 
pulse  must  have  been  relatively  rhythmic,  yet  there 
is  no  record  of  Music  as  an  invention,  until  a  new 
factor  arose  in  his  environment.*  The  needs  of  life 
began  to  suggest  partnerships,  children  cemented 
parenthood  groups,  family  groups  met  and  associated 
with  other  family  groups,  still  others  were  added 
and  the  Tribe  was  formed.  Much  of  the  Tribal  life 
of  prehistoric  times  is  a  matter  of  conjecture,  but 
enough  can  be  learned  from  the  mores  of  later  tribes, 
to  suggest  with  reasonable  probability  some  of  the 
earliest  tribal  customs.     Music  is  a  late  invention. 


*The  octave  of  half-tones  sung  by  the   Hylobates  Syndac- 
tylus  is  merely  an  effort  at  speech. 


2  2  MUSIC  AS  A  HUMAN  NEED 

but  the  elements  out  of  which  Music  is  fashioned 
— rhythm,  motion  and  sound — constitute  the  first 
impulses,  the  first  responses  to  stimuli  in  themselves 
rhythmic;  and  the  oldest  peoples  exhibit  traces  of  the 
love  of  sound  in  rhythmic  action.  The  probability 
is  that  association,  with  man  as  with  birds,  developed 
a  need  of  communication;  from  this  need  originated 
the  acoustic  formation  of  speech,  and  speech  In  turn 
brought  the  first  conscious  interchange  of  Ideas.  In- 
tense mental  action  causes  disturbed  physical  rhythm. 
Physical  functions  are  not  yet  adapted  to  the  physi- 
cal disturbance  caused  by  such  mental  action.  The 
organs  for  the  assimilation  of  the  terrific  stimuli  of 
modern  life,  are  still  imperfectly  developed,  as  is 
illustrated  by  the  inability  of  the  body  to  cope  with 
increasing  intellectuality,  and  the  consequent  alleged 
increase  of  Insanity  in  modern  times.  As  the  eye 
has  evolved  from  the  sense  of  touch  to  its  present 
power,  and  may  progress  to  a  capacity  for  still 
clearer  vision,  so  has  the  nervous  system  evolved 
from  its  single  cell,  to  its  present  cell  multiplicity, 
and  may  develop  new  cell  formations,  with  which 
to  support  changing  degrees  of  added  stimuli. 

A  departure  from  established  belief  will  be  noted 
at  this  point.  Ideas  were  wonderful  and  powerful 
stimuli  to  the  primitive  mind.  That  extreme  tension 
which  causes  modern  minds  to  become  unbalanced, 
is  not  proportionately  more  intense,  than  must  have 


MUSIC  AS  A  HUMAN  NEED  23 

been  the  reaction  of  the  primitive  mind,  to  the  very 
first  question  and  answer  of  primitive  speech.  A 
new  stimulus  acting  upon  a  new  organ  produced  a 
new  disturbance — a  disturbance  of  a  Hfe  heretofore 
purely  rhythmic;  and  a  part  of  the  internal  organic 
family  became  separated  for  independent  motion, 
became  differentiated  with  a  rhythm  of  its  own,  dif- 
fering as  a  matter  of  course,  from  that  old  established 
rhythm  of  the  most  ancient  physical  hfe.  Right  at 
this  point  of  development,  the  need  of  more  or  less 
conscious  readjustment  was  instinctively  felt.  Inter- 
nal rhythm  had  been  disturbed,  and  man  immediate- 
ly invented  an  artificial  producer  of  rhythmic  vibra- 
tion: i.  e. — percussion.  This  sent  into  his  nervous 
system  uncounted  thousands  of  rhythmic  impulses, 
which  tended  to  reestablish  his  disturbed  rhythmic 
motion.  To  hold  that  the  first  rhythmic  inventions 
are  to  be  looked  for  in  war  songs,  in  religious  rites, 
or  in  festal  diversions,  seems  to  us  to  ignore,  not 
only  all  of  the  immensely  important  prior  steps  by 
which  such  comparative  complexity  has  been  attain- 
ed, but  also  to  leave  the  phenomenon  of  rhythm- 
craving,  before  the  invention  of  the  most  primitive 
instrument,  entirely  unaccounted  for.  When  the  war 
element  enters  into  tribal  life,  there  has  already  been 
some  growth  of  institutionalization.  Home  life,  mar- 
riage, inheritance,  government — these  we  find  al- 
ready in  a  certain  stage  of  development,  in  the  very 


24  MUSIC  AS  A  HUMAN   NEED 

earliest  tribes  of  which  we  have  any  positive  know- 
ledge. The  life  of  these  tribes,  so  similar  in  all 
parts  of  the  world,  produced  certain  disturbances 
within  the  original  rhythmic  bodily  motion.  The 
reaction  to  such  disturbance  v/as  exactly  expressed, 
In  the  rhythm  producers  instinctively  devised  at  each 
stage.  War  was  the  only  great  disturber  of  habitual 
rhythm  for  ages,  and  consequently  Music  of  a  char- 
acter to  meet  the  need  of  this  element  was  early  in- 
vented. 

For  domestic  rhythm-disturbing  crises,  Music — 
sound — was  often  employed  by  the  tribes.  The  an- 
cient Chinese^  used  to  "sound"  the  house  of  a  newly 
wedded  couple,  under  the  impression  that  in  this  way 
the  bride  and  groom  would  enter  a  home  "cleared 
of  evil  demons".  Here  we  have  a  sub-conscions  rec- 
ognition of  the  actual  driving  force  of  rhythmic  vi- 
bration. So,  in  ancient  Japan,  war  songs  were  the 
old  expressions  of  national  agitation.  These,  accom- 
panied as  they  invariably  were,  by  high  sentiments 
of  loyalty  and  patriotism,  steadied  the  rage  of  war- 
fever  to  a  good  fighting  point,  and  prevented  im- 
pulsive, or  too  reckless  charging. 

The  Hindus'  believe  their  musical  scale  is  an  in- 
spiration from  Heaven.  Their  Music  is  an  expres- 
sion of  religious  rather  than  military  agitation. 


^  American   History  and  Encj'clopedia  of  Music. 
-  Ibid. 


MUSIC  AS  A  HUMAN  NEED  25 

When  we  think  of  how  primitive  man  at  first  must 
have  wondered  at  all  the  unknown  forces  about  him, 
is  it  not  possible  to  believe  that  religious,  rather  than 
warlike  emotion,  was  the  first  to  intensely  agitate  all 
early  tribes? 

The  ancient  peoples  of  Aryan  stock  seem  to  have 
been  highly  gifted  musically.  Probably  because  of 
their  roving  habits,  their  warlike  spirit,  or  their  pur- 
suit of  culture,  the  Aryans  developed  early  and  high- 
ly, this  greater  need  of  rhythmic  stimulus  in  percus- 
sion. 

Persian  agitation  took  the  form  of  occultism,  as 
is  shown  in  the  devices  on  the  walls  of  their  fire 
temples.  Their  Music  was  held  to  be  symbolic. 
They  believed,  for  example,  that  Music  was  like  a 
tree,  and  that  its  tones  were  representative  of  fire, 
water,  air  and  earth,  of  the  signs  of  the  zodiac,  of 
the  planets  and  even  of  day  and  night.* 

Music  becomes  combined  with  ideas  in  the  expres- 
sion of  rhythm,  in  direct  proportion  to  the  develop- 
ment of  ideas  in  the  culture  of  the  several  races. 
When  war  ceased  to  be  the  chief  factor  in  the  dis- 
turbance of  bodily  rhythm,  and  still  later,  when 
periods  of  rest  became  usual  between  long  wars,  the 
impetus  already  given  to  tribes  by  the  decisive  oc- 
cupations of  warfare,  and  the  consequent  increased 
molecular  motion  of  the  organs,   turned  tribal   at- 

*Ibid. 


26  MUSIC  AS  A  HUMAN  NEED 

tention  in  times  of  rest  to  thoughts  of  love,  decora- 
tion and  poetry,  but  chiefly  to  the  thought  of  record- 
ing the  stirring  deeds  of  their  heroes  in  music  of 
some  kind.  The  Indians  have  probably  sung  their 
deeds  ever  in  rhythm,  though  often  with  an  instru- 
mental accompaniment  in  a  differing  rhythm,  which 
common  practice  must  have  filled  the  need  of  a 
mental  state  "disturbed"  by  the  stimuli  of  ever  pre- 
sent danger,* 

Rhythmic  music  considered  as  a  creation  of  mind 
and  as  a  need  of  the  body,  the  measurement  of  the 
effect  of  musical  vibrations  upon  human  action,  is 
sure  to  lead  the  way  to  a  surprising  fund  of  new 
knowledge.  The  number  of  vibrations  caught  by 
the  ear  in  the  simplest  drum  performance  must  be 
enormous,  and  when  it  is  realized  that  these  vibra- 
tions represent  a  live  force  striking  the  tense  nerves, 
and  that  the  effects  are  quantitatively  measurable 
in    a   psycho-physiological   laboratory,    a    significant 


*It  will  be  noted  that  the  reference  to  ideas  as  "disturb- 
ances of  purely  physical,  molecular  rhythm"  is  used  throughout 
this  book,  for  it  is  here  claimed  that  just  as  the  unconscious 
cessation  of  breathing  for  a  few  seconds  during  the  writing  of 
an  idea,  expresses  the  check  of  mental  action  upon  heart  action 
and  the  circulation  of  the  blood,  so  also  does  the  continual  re- 
ception of  new  impressions  into  the  mind,  aflFect  the  original 
regular  rhythmic  movement  of  the  entire  body.  Hence  thought 
is  a  real  disturber  of  rhythm  within  the  body^  Similarly,  any 
burst  of  anger,  fear,  or  joy  is  immediately  registered  in  the 
pulse. 


.-«M-|.^.'.  1- 


MUSIC  AS  A  HUMAN  NEED  27 

development  of  psychiatry  may  be  confidently  pre- 
dicted. It  would  be  interesting  to  study  the  differing 
results  of  the  same  muscial  environment,  upon  the 
nervous  reactions  of  partially  deaf,  and  of  normal 
beings,  to  find  out  how  far  the  subjective  and  con- 
scious awareness  of  certain  sounds,  affects  the  objec- 
tive physical  results  of  the  vibratory  force  producing 
them. 

Animals  are  known  to  be  sensitive  to  the  sounds 
of  Music,  and  birds  even  create  that  which  is  called 
Music;  this  creation  on  the  part  of  birds,  seems  to 
us  nothing  more  than  their  instinctive  effort  to  re- 
establish disturbed  internal  rhythmic  action.*  At 
any  rate,  vibration  is  the  fundamental  element  of 
Music  as  of  life,  and  where  Music  exists  there  has 
ever  been  an  antecedent  excitement  of  some  sort. 

Complicated  intellectual  stimuli  being  absent  in 
tribal  life,  the  general  rhythm  was  at  most  periods 
moderately  easy  to  maintain.  Events  of  sufficient 
newness  to  be  exciting  were  rare.  Tribal  wars  were 
felt  to  be  the  usual  occupation  of  ordinary  existence. 
So  that  whether  polygamy  or  monogamy  charac- 
terized the  marriage  relation,  whether  woman  or 
man  ruled  the  home  life,  whether  human  or  animal 
sacrifices  were  offered  to  one  or  to  several  gods, 
the    stimuli    met    in    daily    experiences    were    very 


*We  are  aware  that  Darwin  stresses  the  element  of  sexua! 
selection  in  the  bird's  song. 


28  MUSIC  AS  A  HUMAN  NEED 

similar  in  their  monotony,  and  very  much  the  same 
in  all  tribes.  Customs  were  handed  down  from  one 
generation  to  another,  and  carried  from  one  part  to 
another  of  the  earth's  surface,  but  ordinary  experi- 
ences varied  little  until,  under  the  stimulation  of 
steam-driven  engines  and  machines,  nations  devel- 
oped the  industrial  fever,  which  seems  to  character- 
ize modern  times.  Even  today  in  localities  where 
newspapers  and  railroads  do  not  penetrate,  life  tends 
to  revert  to  primitive  ideals.  The  interests  of  the 
tribes  lay  in  the  raising  of  cattle,  in  the  birth  of 
male  offspring,  in  the  division  of  labor  into  the 
search  for,  and  the  preparation  of,  food,  and  in  the 
unification  of  a  strong  group  hostile  to  all  other 
groups.  These  occupations  coexisted  with  a  sim- 
plicity of  environment,  unexciting  to  the  reposeful 
sense  organs,  amid  a  scenic  surrounding  ever  un- 
touched by  artificiality;  where  village  scenes  of  little 
variety  took  place;  where  no  reason  existed  to  cause 
abnormal  quickness  of  eye  movements;  where  oc- 
curred only  rare  shocks  to  the  regular  rhythm  of  the 
nerve  cell  motions.  Thus  there  was  little  or  no 
need  of  complicated  rhythm  in  Music.  It  will  be 
remembered  that  Music  is  a  need  for  that  part  of 
humanity  or  of  any  living  organism  which  through 
reason  of  its  prior  reception  of  irregular  stimuli,  has 
disturbed  the  natural  internal  and  independent  rhyth- 
mic motion,   imparted   by  the  mother   in   the  birth 


MUSIC  AS  A  HUMAN  NEED  29 

process.  An  augmented  heart  action  is  not  harmful 
at  times,  even  if  it  be  above  the  normal,  but  a  heart 
action  which  is  ever  changing  its  beat,  now  fast, 
now  slow,  now  weak,  now  strong,  tends  to  derange 
the  normal  rhythmic  life  motion  of  the  cells,  a  result 
caused  by  modern  multiplicity  of  Irregular  stimuli, 
and  observable  in  modern  civilized  man.  Great  mul- 
tiplicity of  stimuli  the  tribal  man  rarely  experienced. 
His  percussive  Music  was  not  complex,  because  the 
life  stimuli  were  not  complex;  the  nervous  system  of 
the  savage  was  disturbed  by  but  few  mental  proc- 
esses— the  simple  results  of  the  few  and  unvarying 
stimuli  offered  by  his  tribal  life. 

Approaching  modern  times,  let  us  see  what  role 
was  assumed  by  Music  in  the  tribal  life  of  the  early 
Germanic  races.  In  those  times  of  war  excitement, 
when  tribes  fought  like  wild  animals,  and  the  war 
spirit  held  full  sway,  the  Germans  on  their  march  to 
battle,  helmets  decorated  with  the  heads  of  animals, 
their  big  bodies  clothed  in  the  simple  sagum,  chanted 
their  war  songs,  and  kept  up  a  rhythmic  beating 
upon  their  shields.  This  ever  visible  trend  toward 
rhythmic  sound  Indicates  a  subconscious  need  of  it, 
a  need  which  often  annoys  us  in  our  children's  crav- 
ing for  the  noise  of  percussion, — a  noise,  it  may  have 
been  observed  by  long-suffering  parents,  which  they 
love  beyond  all  other  diversions.  So  long  as  war 
and   religion   alone   occupied   mankind,   and  before 


30  MUSIC  AS  A  HUMAN  NEED 

the  human  need  of  rhythmic  sound  became  so  pro- 
nounced, as  to  create  the  very  complicated  idea  of 
producing  vibratory  impulse,  from  pleasurable  sound 
intervals,  combined  with  word  pictures  of  human 
emotions — so  long  was  mere  rhythm  in  Music  suf- 
ficient to  re-establish  disturbed  internal  motion. 

The  Gauls  advanced  a  step  beyond  the  Germans 
toward  musical  organization,  by  their  maintenance 
of  "bands  of  barders,"  who  were  described  by  Taci- 
tus as  accompanying  the  Gallic  armies  in  order  to 
cheer  the  warriors. 


CHAPTER  II. 

Music  and  Motion. 

Music,  a  recognized  but  still  undirected  agent  for 
rhythm  maintenance,  is  sought  and  produced  in  ac- 
cordance with  the  disturbance  of  a  body  politic  or  of 
a  body  individual.  The  musical  products  of  a  na- 
tion mirror  that  nation's  history  far  better  than  pen 
and  ink  can  laboriously  spell  it  out.  Music  reaches 
down  into  physiological  and  psychological  needs, 
and  tends  to  reestablish  rhythmic  equilibrium, 
whether  applied  to  physical  organs,  or  to  members 
of  a  national  body.  And  as  the  aggregates  of  mat- 
ter and  motion  in  human  bodies  combine  all  of  their 
unequal,  complex,  and  yet  distinct  rhythms  under 
one  mean  rhythm,  which  becomes  the  characteristic 
rhythm  of  the  whole,  so  do  the  musical  products  of 
a  nation,  during  a  given  time  or  age,  combine  their 
unequal  motions  under  a  mean  motion  or  character- 
istic, which  includes  all  rhythmic  products  and  which 
we  see  as  a  characteristic  "color,"  or  "tempera- 
ment" in  the  national  Music  of  that  period.  And 
as  the  mean  governing  rhythm  or  pulse  of  one  being, 
individual  or  national,  cannot  be  mistaken  for  the 
mean  of  any  other  combination  than  its  own,  so  the 
"color"  or  "temperament"  of  the  musical  products 

31 


32  MUSIC  AS  A  HUMAN  NEED 

of  one  country,  is  clearly  distinguishable  from  that 
of  the  Musical  products  of  other  countries. 

In  like  manner,  humanity,  that  larger  aggregate 
of  human  molecules,  shows  a  mean  color  in  the 
united  products  or  motions  of  its  parts,  the  nations. 
The  "tone"  of  the  Music  of  the  Nineteenth  cen- 
tury, is  more  complex  than  that  of  the  Eighteenth 
century,  although  Spain  still  re-establishes  her 
Eighteenth  century  disturbances  with  Eighteenth 
century  Music.  England,  with  few  deeply  disturbed 
emotions  is  satisfied  with  doses  of  early  Nineteenth 
century  Music.  France  applies  her  own  vivid  in- 
tellectual sound  pictures  to  her  psychological  and  po- 
litical disturbances.  Germany  finds  the  panacea  for 
her  disturbances  in  colors  of  soul  tragedy  and  strong 
sentimentality.  Italy,  until  her  recent  steps  toward 
modern  methods  in  stimuli  productions,  sipped  her 
delightful  comedy  and  her  flowery  tragedy,  from 
graceful  old-fashioned  musical  cups.  Nineteenth 
century  musical  productions  in  England,  France, 
Germany  and  Italy  are,  we  may  say,  pictures  of  their 
several  national  "disturbances,"  and  exact  quantita- 
tive measurements  of  the  depth  to  which  the  mean 
national  rhythm  was  disturbed.  All  of  these  musical 
productions  again  react  upon  humanity's  aggregate, 
and  are  combined  under  what  Is  known  as  the  Nine- 
teenth century  mean  rhythm,  or  age  characteristic. 

As  has  been  noted  above,  there  are  too  few  data 


MUSIC  AND  MOTION  33 

indicative  of  the  habits  of  primitive  man,  for  us  to 
learn  aught  of  his  Music,  but  it  is  safe  to  assume 
that  its  comparative  simplicity  or  complexity  corre- 
sponded with  the  comparative  simplicity  or  complex- 
ity of  his  mental  and  physical  life.  Undoubtedly, 
the  earliest  group  complexity  arose  with  roving 
habits,  the  entrance  into  new  environments,  and  the 
subjection  of  man's  psycho-physical  system  to  new 
"strains"  of  disturbing  stimuli. 

According  to  this  theory  we  must  define  "disturb- 
ances" as,  such  responses  to  varying  stimuli  as  un- 
duly accelerate  or  retard  bodily  pulse  motion,  chang- 
ing the  normal  rhythm  of  the  pulse.  Examples  are 
to  be  found  in  sudden  migrations,  outbursts  of  en- 
thusiasm, wars,  revolts,  and  even  in  certain  eager 
intellectual  pursuits. 

Music  is  a  phase  of  the  evolutionary  process. 
Musical  evolution  has  also  its  order:  (a)  in  apprecia- 
tion,* when  the  primitive  human  mind  becomes  con- 
scious of  existing  rhythm,  of  sound  combinations; 
(b)  in  utilization,  when  its  seemingly  magical  effect 
suggested  its  association  with  the  festivities  and  rites 
of  worship;  (c)  in  characterization,  when  it  stands 
on  a  pedestal  of  its  own,  recognized  as  a  hurnan 
necessity  perfectly  adapted  to  its  environment;  and 
(d)  in  socialization,  when  its  end  as  an  agent  in  self- 


*Giddings'    Descriptive    and    Historical    Sociology,    pp.    186 
to  212. 


34  MUSIC  AS  A  HUMAN  NEED 

realization  shall  be  entirely  comprehended.  Char- 
acterization is  the  mode  which  Music  has  reached 
today.  Socialization  is  just  beginning,  and  is  yet 
more  fully  to  be  developed  with  greater  under- 
standing. 

Again  in  Musical  Evolution  there  has  been  an 
ideo-motor  stage  of  development.^  This  forceful, 
aggressive,  persistent  motor  stage  was  shown  in  the 
rude  drums  and  other  rough-hewn  instruments  of 
early  man.  In  its  convivial  imaginative  aspect  it  has 
answered  to  the  need  of  the  ideo-emotional  type. 
The  dogmatic  emotional  need  has  drawn  forth  from 
that  type's  resources  the  austere  musical  products  of 
master  genius.  Do  we  not  find  today  in  France,  Ger- 
many and  in  modern  Italy  a  national  rhythm  dis- 
turbed by  critically  intellectual"  stimuli,  which  in  turn 
call  forth  critically  intellectual  Music  of  the  most 
distinct  complexity?  Music  is  both  a  social  and  a 
socializing  force,  which,  although  created  by  society, 
reacts  upon  its  creator. 

Reviewing  the  stages  of  Musical  Evolution  do  we 
not  discern  concerted  volition?  Does  not  the  mean 
tone  of  national  musical  types  show  concerted  accep- 
tance of  that  which  answers  to  national  tastes  and 
needs?  The  very  applause  which  establishes  the 
modern  type,  is  the  outward  sign  of  an  inward  intent 

1  Giddings'  Descriptive  and  Historical  Sociology,  p.  237. 
-  Otherwise  known  as  rationalistic. 


MUSIC  AND  MOTION 


35 


to  embrace  that  product.  Cool  and  restrained  judg- 
ment precedes  that  acceptance. ''Any  audience  mani- 
fests resembling  sensations  of  resembling  individ- 
uals in  that  oneness  of  criticism  so  generally  ex- 
hibited. Clearly  indeed  in  this  latter  case  do  we  per- 
ceive that  reflective  sympathy  which  shows  us  how 
like  to  our  neighbor  we  are.  Then  there  is  the  evi- 
dence of  organic  sympathy  \vllich  establishes  that 
liking  or  disliking  for  certainfjVIusic,  according  as 
the  mean  motion  or  the  rhythm  of  the  Musical  sound 
vibrations,  correspond  to  a  similar  combination  of 
motions  and  rhythms  in  our  own  systems^  And  is  not 
the  affection  for  a  rhythm  similar  to  our  own, 
stronger  than  Is  our  liking  for  one  dissimilar?  Can 
a  dogmatic  emotional*  type  experience  a  true  affec- 
tion for,  or  feel  a  sincere  need  of,  ragtime  ditties? 
Could  Italy  in  the  early  part  of  tKe  Nineteenth  cen- 
tury feel  affection  for  the  Music  of  a  von  Weber? 
Could  Germany  in  the  fever  of  Franco-Prussian 
emotionalism  feel  affection  for  the  works  of  Verdi? 
Paris  disliked  Wagner's  operas  until  very  recently. 

Lest  this  should  seem  like  an  attempt  to  stretch 
sociological  terminology  to  cover  territory  other 
than  its  own,  let  us  continue  our  examination.  Even 
in  the  progress  from  the  homogeneous  to  the  hetero- 
geneous. Music,  in  its  national  parts,  though  highly 
heterogeneous  like  the  Integrated  parts  of  the  body, 


*Giddings,  op.  cit.  pp.  238-239. 


36  MUSIC  AS  A  HUMAN  NEED 

is  yielding  to  the  social  passion  for  homogeneity. 
This  is  indicated  by  the  increasing  similarity  of  its 
ideals.  Even  Italy  in  her  new  awakening  Is  reaching 
.  out  toward  musical  equality  with  the  most  complex 
modern  Ideals,  illustrating  the  tendency  of  all  in- 
equality toward  final  equality. 

The  Music  which  answered  to  the  needs  of  an 
Ethnic  Society  could  not  possibly  re-establish  the 
disturbed  rhythm  of  political  groups.  The  "gentile 
family"  system  for  a  long  time  successfully  counter- 
acted the  effects  of  heterogeneous  motion  attacks 
upon  the  calm  nerv^ous  structure,  by  a  Music  suited  to 
its  needs.  Only  with  the  decay  of  the  patriarchal 
system  did  groups  come  to  demand  complexity  in  the 
re-establishing  agency,  Music. 

Internal  disturbances  must  have  been  rare  In  all 
clan  life,  surrounding  stimuli  being  relatively  homo- 
geneous, simple  and  diffused.  Paleolithic  man,  with 
his  unchanging  external  environment,  had  little  rea- 
son for  internal  disturbance.  What  slight  disturb- 
ances he  suffered  were  probably  remedied  by  simple 
rhythmic  composition  of  some  kind :  even  babies 
create  a  pronounced  sound  rhythm  with  any  instru- 
ment at  hand,  and  indicate  real  pleasure  derived 
from  what  to  us  seems  mere  noise. 

Sounds  produced  by  non-human  beings  are  mere 
discharge  of  surplus  energy,  In  a  creation  of  rhyth- 
mic stimulus,  and  not  conscious  sound  combinations 


MUSIC  AND  MOTION  37 

in  song.  Music  is  a  "natural"  product  of  human 
society.  It  must  be  as  old  as  those  integrations  of 
parts  in  the  human  body,  which  became  aggregates 
of  matter  and  motion,  to  take  care  of  new  stimuli 
colliding  with  the  motions  already  contained. 
Through  lower,  middle,  and  upper  savagery,*  even 
before  the  beginning  of  speech.  Music  must  have  been 
at  hand,  although  in  its  simplest  conceivable  form. 
Music  kept  pace  with  the  comparatively  simple  ex- 
ternal stimuli  of  each  period. 

With  the  use  of  fire  and  of  the  bow  and  arrow  in 
upper  savagery,  came  a  new  heterogeneity  in  the 
stimuli  entering  the  organism;  disturbances  were 
still  simple,  but  with  the  domestication  of  animals, 
with  the  cultivation  of  plants  by  irrigation,  with  the 
use  of  adobe  brick  and  stone  in  architecture.  Music 
must  have  -gradually  increased  in  its  complexity  in 
order  to  cope  with  the  new  disturbances  of  bodily 
motion  consequent  upon  those  changes  in  man's  re- 
action to  his  environment.  Then,  with  the  use  of 
iron  in  upper  barbarism.  Music  began  anew  to  ex- 
hibit its  needed  usefulness,  as  in  the  Grecian  tribes 
of  the  Homeric  Age,  and  in  the  German  tribes  of 
Caesar's  time. 

By  these  times  Music  had  passed  well  out  of  the 


^Morgan:  Ancient  Peoples. 


38  MUSIC  AS  A  HUMAN  NEED 

stages  of  "appreciation,"  into  those  of  "utilization."^ 
Strongly  rhythmic,  it  contributed  to  the  recreation 
(re-creations  indeed)  of  bodily  equilibrium!  It 
calmed  intense  inward  motion,  or  stimulated  flagging 
circulation  in  its  union  with  religious  rites.  From 
such  accomplishments  of  later  barbarians  as  poetry, 
mythology,  fine  temple  architecture,  walled  cities, 
ship  building,  wine  manufacture,  woven  fabrics,  im- 
plements for  grinding  corn,  the  side  hill  furnace  for 
smelting  ore,  and  many  other  early  mechanical  con- 
trivances,- civilization  evolved  its  phonetic  alphabet 
and  its  literary  records,  building  the  rhythm-disturb- 
ing stimuli  of  civilization.  In  the  meanwhile  the 
family  develops  to  the  point  of  monogamy,  and  in- 
dividual property  rights  usher  in  a  new  political  sys- 
tem. An  advanced  form  of  municipal  life  in  forti- 
fied cities  having  already  created  the  ideal  of  city 
treasure  to  be  protected,  the  step  was  ultimately 
taken  from  this  to  individual  property  rights  distinct 
from  those  of  the  gens. 

The  fact  that  Music  as  we  first  encounter  it  is 
already  somewhat  complex,  is  not  surprising  when 
we  regard  it  in  terms  of  motion,  duplicating  in  prin- 
ciple the  construction  of  the  human  body.  The  lat- 
ter may  also  be  regarded  in  terms  of  motion;  for 


^  Giddings'    Descriptive    and    Historical    Sociology,   pp.    i86 
to  212. 

-  Morgan's  Ancient  Peoples. 


MUSIC  AND  MOTION  39 

what  are  bodily  organs  but  integrations  of  mole- 
cules in  motion?  The  rhythm  of  a  bodily  organ  is 
like  a  note  composed  of  periodic  motions.*  The 
various  organs  of  differing  masses  and  motions,  act- 
ing together  under  one  chief  rhythm,  are  but  chords 
of  various  notes,  while  that  average  of  averages,  the 
pulse,  registers  the  governing  rhythm  of  all  of  these 
together,  as  does  the  time  in  music. 

With  the  differentiation  of  the  Aryan  race  from 
those  barbarians  who  were  not  active  in  making  and 
utilizing  new  inventions,  certain  re-arrangements  of 
bodily  motions  resulted  which  could  not  fail  to  "dis- 
turb" old  life  habits.  With  artificial  rhythm  already 
at  hand,  instinct  alone  would  be  sufficient  to  prompt 
its  application.  Appreciation  of  Music  at  this  stage 
would  mirror  only  the  satisfaction  derived  from  the 
hearing  of  rhythmic  sounds,  sufficiently  varied  to 
inflame  or  calm  inward  motion,  without  carrying  it 
too  far  from  the  norm.  The  "gens"  system  as  found 
in  Greece,  Rome,  and  among  American  aborigines, 
as  also  among  the  Irish  sept,  and  Scottish  clan, 
would  tend  to  restrain  complex  emotions.  Such 
gentes,  being  consanguine  bodies,  descended  from 
the  same  common  ancestor,  and  having  a  gentile 
name,  and  held  togther  by  actual  or  fictitious  ties  of 
blood,  were  compact  bodies  with  institutions  com- 
paratively simple.     They  were  like  primitive  bodily 

*Helmholtz,   Sensations  of  Tone,  Part  I,  p,  8. 


40  MUSIC  AS  A  HUMAN  NEED 

forms,  consisting  of  motions  contained  within  an 
outer  crust,  and  with  few  distinct  inward  integrations. 
Music,  as  simple  rhythm  agreeable  to  the  ear, 
would  fulfill  all  disturbance  needs  of  that  time,  and 
would  itself  be  a  mere  contained  motion,  with  few 
integrated  parts.  Only  with  the  beginning  of  "ra- 
tional" thinking  or  the  "interposition  of  new  ideas 
between  stimulation  and  the  consequent  muscular 
action,"*  does  such  complexity  of  mental  effort  in- 
duce the  integration  of  new  parts  with  new  motions 
in  order  to  meet  the  added  strain. 


*Giddings'  Descriptive  and  Historical  Sociology,  p.  346. 


CHAPTER  III. 

Group  and  Individual  Reaction  to  Music. 
A  Brief  Record  of  Experiments. 

f  (  Music  tranquillizes  human  agitatiom  We  believe 
that  enough  of  musical  vibration  will  tranquillize  all 
agitation,  whether  it  be  such  as  is  manifested  in  ab- 
normal mental,  or  abnormal  physical  movements. 
Music  acts  differently  upon  those  low  states  of  mo- 
tion represented  by  the  phlegmatic  temperament  and 
rural  communities.  Here  music  excites  more  than 
it  does  when  colliding  with  agitated  nerve  motions. 
These  two  marked  effects  of  music  were  noticed  by 
the  author  in  the  following  experiences  which  ex- 
tended over  a  period  of  many  years,  among  all  of 
tHe  classes  which  compose  the  civilized  group : 

From  Concerts  through  Canada  and  Western  U.  S. 

From  three  successive  tours  of  the  Baltic  Province  of  Russia, 
with  audiences  of  the  Ideo-Emotional  and  Dogmatic- 
Emotional  types. 

From  Concert  and  opera  tests  in  Germany  and  England. 

From  Concert  and  opera  tests  in  the  Eastern  States  of  U.  S. 

From  Concert  and  opera  tests  among  the  revolutionary  ele- 
ments of  New  York  City,  including  Coney  Island  tent  life 
for  five  months,  lower  East  Side  social  work  for  five 
years,  Brooklyn  Working  Girl  tests,  church,  political,  and 
society  study  among  actual  audiences  represented  by  these 
classes. 

More  than  two  hundred  thousand  people  were  ob- 

41 


42 


MUSIC  AS  A  HUMAN  NEED 


served  during  these  tests  as  to  the  effects  of  music, 
and  the  results  suggested  the  following  needs,  which 
the  author  believ^es  may  be  extended  to  the  treatment 
of  many  diseases  of  the  mind.  Abnormally  height- 
ened or  abnormally  lowered  bodily  agitation,  or  in- 
ward motion,  "needs"  rhythmic  stimulus  from  highly 
agitated  motion,  as  in  music;  the  like  state  of  highly 
agitated  motion  in  the  body  responds  to  the  stimulus 
in  calmed  motions;  the  abnormally  lowered  bodily 
agitation  responds  to  the  unlike  stimulus  in  the  highly 
agitated  motions  of  music,  in  excitation:  a  perfectly 
normal  body  "needs"  no  music  (but  such  do  not 
exist). 

( 1 )  Those  social  and  individual  bodies  mani- 
festing abnormal  states  of  agitation  "need"  contact 
with  such  a  body  of  rhythmic  musical  vibration  as 
will  calm  and  impose  a  normal  rhythmic  motion  upon 
the  disturbed  motion  represented  by  the  agitation. 

(2)  Those  social  and  individual  bodies  manifest- 
ing abnormal  states  of  phelgma  "need"  contact  with 
such  a  body  of  rhythmic  musical  vibration  as  will 
excite  the  low  motion  states,  and  impose  a  normal 
rhythmic  motion  upon  the  sub-normal  motion  repre- 
sented by  the  phlegmatic  states. 

Above  conclusions  are  offered  as  a  result  of  the 
following  types  of  experiments. 


( 


REACTIONS  TO  MUSIC 


43 


Experimenls  Upon  the  Ideo-Motor  to  Ideo- 
^  Emotional  Type. 

Desiring  to  try  the  effects  of  music  combined  with 
lectures  of  a  political  character,  among  the  lower 
elements  of  Coney  Island  dwellers,  we  set  up  a 
60x90  ft.  tent  at  the  foot  of  Ocean  Parkway,  in 
May,  1909;  600  chairs,  a  decorated  platform,  a 
grand  piano  and  gay  flags  of  all  nations  were  dis- 
tributed in  their  proper  places.  The  subject  of  all 
lectures  was  Woman  s  Suffrage,  a  theme  most  un- 
popular at  that  time  and  especially  distasteful  to  a 
Coney  Island  mind.  The  prevailing  religion  of  the 
district  was  Catholicism.  The  first  week  was  de- 
voted to  suffrage  lectures  without  music.  Crowds 
filled  the  floor  space  of  our  big  tent  each  night,  and 
from  the  beginning  we  distinctly  felt  the  murmurs  of 
intended  trouble.  Our  speakers  were  men  high  in 
public  favor,  but  one  of  these  made  the  following 
unfortunate  remark: 

"Catholicism  is  the  curse  of  the  laboring  class." 
Then  a  workingman  stood  up  and  hurled  uncom- 
plimentary epithets  at  us  for  trying  to  destroy  the 
laboring  man's  only  blessing — his  faith.  A  woman 
added  tears  for  her  beloved  church,  and  a  socialist 
added  oil  to  the  flame  by  a  bitter  attack  upon  religion 
in  general.  Before  we  could  make  ourselves  heard, 
a  fight  ensued  which  attracted  a  large  outside  crowd. 
Several  policemen  finally  dispersed  the  excited  aud- 


44  MUSIC  AS  A  HUMAN  NEED 

ience.  Our  broken  chairs  bore  mute  witness  of  the 
damage,  but  no  intention  of  giving  up  was  enter- 
tained. The  certainty  of  serious  trouble  for  the  fol- 
lowing evening  hastened  our  institution  of  music  in 
the  program.  During  the  afternoon  following  our 
mishap,  we  were  informed  by  the  police  that  trouble 
was  brewing  for  the  "tent  folks."  With  some  trepi- 
dation we  entered  the  tent  that  evening.  A  large 
crowd  of  the  "rowdy"  element  had  gathered  by  eight 
o'clock.  Four  policemen  guarded  the  entrance,  but 
many  very  rough  looking  men  crawled  under  the 
canvas  at  the  sides  and  cast  knowing  glances  at 
acquaintances. 

Our  artists  for  this  first  program  had  been  care- 
fully chosen,  a  soprano,  delicate  in  voice  and  person- 
ality, a  genial  looking  baritone,  an  excellent  "cell- 
est,"  one  of  our  best  known  violinists,  and  a  pianist 
of  world-wide  renown.  We  all  "held  our  breaths" 
in  anticipation  of  what  might  happen.  The  speaker 
began.  Immediately  cat-calls  and  horns  drowned  her 
voice.  The  air  was  filled  with  foul  epithets.  Sud- 
denly some  one  threw  a  stone  which  struck  the 
speaker  on  the  cheek.  The  meanness  of  the  insult 
quieted  the  mob,  and  an  officer  removed  the  offender. 
Then  in  a  few  words  the  people  were  asked  to  re- 
serve judgment  until  after  the  musical  program. 

A  trio  performance  for  violin,  "cello"  and  piano 
was  given.     Whispering  and  excited  murmurs  con- 


REACTIONS  TO  MUSIC  45 

tinned  all  through  this  long  number,  but  when  the 
soprano  sang  the  old  love  aria,  "Ah,  fors'  e  lui," 
from  "La  Traviata"  by  Verdi,  a  sudden  hush  fell 
upon  the  audience.  At  the  close  of  this  aria,  emo- 
tional, tuneful  and  simple  in  construction,  a  storm 
of  applause  broke  forth.  Encores  of  ballads  fol- 
lowed, and  when  "The  Last  Rose  of  Summer"  was 
given,  with  the  emotional  addition  of  a  genuine  red 
rose,  whose  petals  were  scattered  in  compliance  with 
the  text,  women  wept,  and  men  settled  down  sullen- 
ly in  their  seats.  The  irritation  of  the  preceding 
three  days  had  been  reduced  to  normal  rhythmic 
motion,  in  less  than  one  hour  of  musical  treatment. 
The  rest  of  that  evening  was  in  every  way  a  success. 

This  was  not  an  unique  experience.  Musicless 
lectures  were  always  more  excitable  in  effect  than 
were  those  combined  with  music.  So  certain  were  the 
results  of  our  combination,  that  before  the  end  of 
the  summer,  we  could  discuss  any  "views"  with  a 
mob  element,  by  alternating  an  exciting  subject  with 
an  artistically  rendered  musical  selection.  At  every 
step,  music  proved  its  power  to  soothe,  and  showed 
how  great  is  the  human  need  of  its  vibratory  mission. 

Instances  of  similar  effect  of  music  upon  mental 
agitation  were  observed  in  other  situations.  During 
a  trip  across  the  Atlantic  on  the  old  vessel  "Trava," 
a  dangerous  accident  occurred  during  a  severe  storm. 
A  panic  threatened.     The  first  officer  whispered  to 


46  MUSIC  AS  A  HUMAN  NEED 

the  author  to  sing  a  song.  She  started  the  national 
hymns,  inviting  the  passengers  to  show  their  patriot- 
ism aAd  nationality  by  joining.  First  the  "Star 
Spangled  Banner"  brought  out  a  few  voices,  then  the 
"Wacht  am  Rhein"  swelled  the  chorus;  the  "Marsel- 
laise"  was  then  responded  to,  and  when  "The  Wear- 
ing of  the  Green"  brought  forth  one  lusty  Irish 
brogue,  such  a  laugh  ran  round  the  dining  saloon  as 
completely  broke  the  strained  condition  and  re-estab- 
lished normal  rhythmic  pulse  motion. 

j  The  tension  of  nerve  during  strikes  was  reduced 
several  times  by  musical  "benefits.7  Dangerous  ex- 
citement at  political  meetings  was'<)ften  converted  in- 
to harmless  emotionalism  under  evenings  of  Eigh- 
teenth century  comedy  opera  tests  on  the  East  Side 
of  Manhattan.  The  establishment  of  The  Working 
Girls  Club  in  Brooklyn  in  1912  afforded  an  excellent 
opportunity  for  testing  the  reviving  effects  of  music 
upon  tired  brains  and  bodies.  One  hundred  and 
forty  young  and  healthy  working  girls  from  depart- 
ment stores,  telephone  offices  and  factories,  used  the 
club  house  dedicated  to  their  use  and  at  first  evi- 
denced pleasure  and  benefit  from  the  classes  insti- 
tuted. But  presently  a  depressing  weariness  of  as- 
pect appeared,  a  "trying  to  learn"  expression,  which 
promised  little  for  energetic  application.  The  law 
class  dwindled  to  two  members;  the  millinery  class 
could  not  attract  more  than  six  students,  the  cooking 


REACTIONS  TO  MUSIC  47 

class  began  with  thirty-five  and  ended  with  four,  the 
dress-making  class  held  but  three  pupils :  the  class  in 
simple  science  was  not  attractive,  the  language 
classes  began  well,  but  the  girls  were  too  tired  to 
study.  Finally  we  gave  them  what  they  wanted,  and 
what  they  needed — music.  What  a  change  came 
over  the  mental  attitude !  Monday,  Wednesday  and 
Friday  nights,  singing  individually  and  in  chorus  was 
taught.  Three  hours  of  music  swept  away  all  traces 
of  weariness,  and  sparkling  eyes  and  rosy  cheeks  ex- 
hibited anew  the  need  of  music.  Ail  through  the 
year  19 12-13  for  twelve  months,  the  opera  "Martha" 
by  Flotow  was  rehearsed,  and  never  was  there  occa- 
sion to  complain  of  poor  attendance,  wandering  at- 
tention, or  lack  of  interest.  A  public  performance 
was  given  in  the  Spring  of  19 13  at  Labor  Lyceum, 
Brooklyn.  Notwithstanding  long  days  of  labor,  the 
girls  did  great  credit  to  their  leaders'  work  in  train- 
ing. 

Turning  to  individual  experiments,  an  instance  of 
the  strangely  normalizing  effects  of  music  upon  ab- 
normal nervous  conditions  comes  to  our  mind.  A 
noble  minded  woman,  lately  deceased,  devoted  her 
life  to  the  Sittig  Christmas  Tree  Celebration,  which 
annually  gave  a  Christmas  feast  of  presents,  candies, 
books  and  entertainment  to  about  seven  thousand  of 
Brooklyn's  poor  children.  She  was  so  deaf  that  she 
heard  with  great  difBculty,  even  with  the  aid  of  elec- 


48  MUSIC  AS  A  HUMAN  NEED 

trical  devices.  Yet  she  could  hear  softly  spoken 
words,  provided  the  speaker  kept  playing  softly 
upon  the  piano  during  the  conversation.  "I  do  not 
need  any  artificial  aid  in  hearing  any  sound  audible  to 
a  normal  ear,  while  music  is  in  the  air,"  she  once 
told  us.  Another  woman,  affected  with  continual 
trembling  of  the  hands,  became  perfectly  quiet  and 
normal  in  action  while  riding  in  a  carriage.  In  reply 
to  our  question  as  to  the  reason  for  this  phenom- 
enon, she  replied,  "The  noise  of  the  carriage  wheels 
resolves  itself  into  regular  'beats'  which  I  cannot  help 
trying  to  imitate."  It  may  be  that  this  is  but  another 
illustration  of  the  "need"  of  disturbed  or  unrhythmic 
motion  for  "regular  beats"  or  rhythmic  motion.  A 
friend  in  Berlin  was  painfully  deaf,  yet  he  heard  the 
slightest  whisper  over  the  telephone.  His  similar 
normality  when  listening  to  music,  suggested  to  the 
author  to  class  all  rhythmic  co-operated  vibrations 
producing  a  continuous  sensation  in  the  ear,  under 
the  name  of  musical  rhythmic  vibrations.  This 
would  extend  the  realm  of  musical  need  to  many 
highly  active  motions  not  generally  Included  in  the 
term  "music."  Telephones,  railway  motion  sounds, 
moaning  of  winds,  continuous  washing  sounds  of 
waves,  do  in  fact  produce  results  strangely  similar 
to  those  seen  in  the  application  of  music.  Excitable 
people  are  quieter  at  sea-side  resorts,  and  restless  In 
isolated   mountain   districts.     We   have   closely   ob- 


REACTIONS  TO  MUSIC  49 

served  the  types  of  individuals  at  water  resorts  in 
Europe  and  America.  Everywhere  the  same  type 
prevails.  It  is  the  highly  strung  temperament  which 
needs  and  seeks  the  "highly  strung"  atmosphere.  We 
have  observed  like  instances  in  nervous  university 
students,  who  study  and  memorize  best  in  the  street 
cars. 

Ideo'Emotional  Groups. 

In  our  German  experience,  the  music  which 
elicited  the  largest  response  seemed  to  be  that  which 
impressed  emotional  pictures  upon  the  mind.  Schu- 
man  lieder  are  of  this  character:  they  are  full  of 
chivalric  example,  suggestion,  symbol,  shibboleth, 
and  tend  to  awaken  emotional  reactions.  In  the 
home  circles,  the  sentiment  in  music  is  strongly  ex- 
pressed. No  true  German  will  allow  you  to  heighten 
the  seat  at  the  piano  with  a  volume  of  Beethoven 
Sonaten.  You  cannot  sit  upon  Beethoven  in  a  loyal 
German  house. 

Even  in  the  grand  opera  audiences  of  Germany, 
the  public  persists  in  manifesting  a  love  for  those 
musical  ideas  which  awake  emotions  rather  than  cool 
critical  judgment.  The  simple  Kinder  Lieder  can 
be  counted  upon  to  bring  the  emotions  to  view,  and 
unrequited  love,  the  romantic  woes  of  a  god-like 
hero,  or  the  dainty  texts  of  sentimental  ballads,  are 
as  effectual  now  as  they  ever  were.     Russian  audi- 


50  MUSIC  AS  A  HUMAN  NEED 

ences  are  still  more  responsive  to  the  emotional  ele- 
ment in  music,  but  their  temperaments  have  a  strong 
dash  of  the  Ideo-motor  in  them. 

All  through  Canada  and  the  Western  part  of  the 
United  States,  the  Ideo-Emotional  type  of  music 
awakens  quickest  response.  Old  ballads  like  "Coming 
Through  the  Rye,"  "Home  Sweet  Home,"  "Annie 
Laurie,"  will  bring  applause  during  the  preludes, 
and  only  in  the  most  complicated  environment  is 
there  a  genuine  response  to  the  relatively  compli- 
cated works  of  Wagner. 

In  a  concert  test  upon  the  stone-working  Italians 
at  Wappingers  Falls,  N.  Y.,  the  home-sick  Italians 
were  so  affected  by  "Santa  Lucia"  that  they  all  closed 
their  eyes  and  joined  the  singer,  weeping  as  they 
sang.  It  was  reported  dangerous  for  a  woman  to 
go  alone  among  these  men,  but  they  sang  song  after 
song  for  us,  and  escorted  her  five  miles  to  the  rail- 
road station.* 

Dogmatic-Emotional  Types. 

The  Greek  Church  music  and  the  music  of  the 
Catholic  Church  acts  specially  upon  the  Dogmatic- 
Emotional  types.  It  is  a  curious  sight  to  Americans 
to  watch   Russian  peasants  and  officials  praying  in 

*An  atrocious  murder  had  been  committed  by  one  of  this 
group  during  the  week  and  the  Mission  Superintendent  warned 
us  by  telegram  of  serious  revolt  and  danger. 


REACTIONS  TO  MUSIC  51 

the  railroad  stations  before  rough  altars  and  highly 
gilded  images.  The  candles,  always  burning,  sug- 
gest the  strength  of  that  command,  authority,  dog- 
ma, belief,  which  lies  so  heavily  upon  Russian  minds. 
Under  such  a  burden,  the  type  of  music  must  come 
within  the  restricted  range  of  comprehension  per- 
mitted to  this  type  of  mind.  Yet  this  enforced  re- 
ligion does  not  act  more  sternly  upon  the  choice  of 
music  in  Russia,  than  does  the  free  Dogmatic-Emo- 
tionalism seen  in  Ocean  Grove,  N.  J.  Here  you 
find  response  to  the  same  musical  type  that  satisfied 
Russian  audiences  of  a  Dogmatic-Emotional  char- 
acter. Ocean  Grove  inhabitants  do  not  pray  in  pub- 
lic stations,  but  no  car  runs  on  Sunday;  no  wagons 
deliver  goods  on  the  Sabbath,  the  rules  which  govern 
conduct  and  musical  production  in  Russia,  are  not 
more  strictly  obeyed  than  are  those  which  frown 
upon  Sunday  amusement  in  Ocean  Grove,  or  dictate 
its  musical  supply.  Strange  to  note,  the  Catholic 
element  is  more  open  in  its  "desecration"  of  the 
Sabbath,  than  is  the  Protestant  element.  This  may 
be  accounted  for  by  the  larger  degree  of  Ideo- 
Motor  activity  among  Catholic  groups,  notwith- 
standing the  strength  of  the  Church  hold  upon  the 
fidelity  of  its  members. 

The  Dogmatic-Emotional  groups  "need"  a  music 
to  correspond  to  their  type,  and  only  such  music  is 
successful  with  them.     Many  years  in  church  circles 


52  MUSIC  AS  A  HUMAN  NEED 

have  proved  to  us  the  real  desire  or  "need"  of 
hymns  and  sacred  songs,  as  a  satisfaction  of  this 
type's  yearnings. 

The  Rationalistic  Group. 

Now  we  come  to  a  class  of  comparatively  few 
representatives.  It  presents  a  nearer  approach  to 
symmetry  in  its  curve  of  mental  and  physical  poise. 
It  responds  to  stimuli  appealing  through  knowledge 
to  the  higher  intellectual  processes.  Ideals  are 
stronger  than  their  physical  manifestations;  the  idea 
is  more  important  than  the  model;  the  type  is  less 
affected  by  common  stimuli ;  it  secludes  itself  in  con- 
templation, in  more  cool  investigation  of  its  own  re- 
sponses; it  seeks  food  for  mental  labor,  with  time 
for  detailed  analysis  of  that  work.  All  this  means 
a  more  normal  equilibrium  between  periods  of  high 
motion  and  rest;  it  means  that  a  smaller  chance  of 
"disturbance"  is  encountered  by  this  type,  and  con- 
sequently a  smaller  "need"  of  rhythmic  music.  The 
problem  opera  will  satisfy  it.  In  less  need  of  marked 
rhythm,  the  analysis  of  new  musical  form  will  occupy 
these  minds,  regardless  of  the  lack  of  either  rhythmic 
or  harmonious  effects.  The  smallness  of  the  Ration- 
alistic group  is  indicated  by  the  unpopularity  of 
rationalistic  composition.  Opera  managements  pro- 
duce the  new  "rationalistic"  works,  but  they  make 
up  their  financial  losses  by  the  Idco-Emotional  works 


REACTIONS  TO  MUSIC  53 

like  Faust,  Carmen,  Cavaleria  Rusticana,  Madam 
Butterfly  and  most  of  the  beloved  works  of  the  pop- 
ular operatic  repertoire. 

Thus  we  see  that  if  music  is  a  human  need,  it  is 
a  need  greatest  among  the  Ideo-motor  and  Ideo- 
Emotional  types,  or  among  the  lower  and  middle 
classes  chiefly.  The  Dogmatic-Emotional  type  needs 
a  music  of  its  own,  and  never  fails  to  produce  it. 
The  Rationalistic  type,  also  needs  its  music,  because 
its  rationalism  has  not  yet  extended  to  an  absolute 
perfection  of  equilibrium  between  dissipation  and  in- 
tegration of  bodily  forces,  and  wherever  abnormal- 
ity of  pulse  exists,  there  musical  rhythm  is  "needed." 
Even  were  this  theory  of  musical  need  not  admitted, 
the  genuine  love  of  music  constitutes  a  need.  So 
intense  a  yearning,  unsatisfied,  cannot  be  beneficial 
to  the  human  system.  Whether  we  admit  music  as  a 
necessary  part  of  human  pleasure,  or  as  a  necessary 
stimulus  to  human  rhythm  of  bodily  motions,  its 
"need"  will  scarcely  be  denied  in  the  face  of  its  con- 

istant  demand  and  supply.  Music  reinforces  human 
energy,  aids  in  the  control  and  order  of  the  mind, 
elevates  the  conception  of  life,  and  furnishes  repose 
for  the  overstimulated  nerves  of  urban  communities. 
Placing  music  then  where  you  will,  it  belongs  among 
those  "better  materials  for  storing,  conveying  and 
transforming  energy"*  and  its  wise  application  may 

*Professor  Giddings'  "Law  of  Increasing  and  Diminishing 
Returns"  would  apply  here  as  elsewhere. 


54  MUSIC  AS  A  HUMAN  NEED 

lead  to  surprising  results,  in  the  conservation  of 
faculties,  now  doomed  to  decay  under  the  law  of 
diminishing  returns. 

That  some  change  in  the  bodily  molecules  takes 
place  as  a  result  of  musical  indulgence  is  believed  by 
the  author.  The  change  in  the  pulse  rate  before  and 
after  a  musical  performance  indicates  an  effect  upon 
the  circulation.  The  same  time  spent  in  listening  to 
a  lecture,  shows  less  freedom  from  tension.  This 
was  shown  in  the  84  experiments  with  working  girls. 
The  103  benefit  tests  upon  revolutionary  audiences 
showed  marked  effects  in  calming  power:  ten  years' 
experience  in  church  choirs,  showed  the  vast  superi- 
ority of  service  with  music,  over  service  without 
music,  in  calming  excitable  congregations  and  in 
rousing  phlegmatic  ones;  ninety-one  consecutive  ex- 
periments at  Coney  Island  demonstrated  that  music 
can  calm  revolt,  and  change  irritation  to  tranquillity; 
over  three  hundred  concert  studies  in  Russia  and  in 
the  United  States  have  shown  marked  increase  in  the 
normality  of  expression  in  audiences,  after  an  even- 
ing of  music,  and  twelve  years  of  experience  in  teach- 
ing music,  have  shown  so  decided  results  in  greater 
health  and  happiness  in  pupils,  that  music  as  a  human 
"need"  appears  to  us  to  be  established  beyond  doubt. 

The  Federal  government  of  our  United  States 
may  not  be  able  under  its  Constitution  to  institute 
Schools  of  Music,  but  the  states  should  begin  to  give 


REACTIONS  TO  MUSIC  55 

more  consideration  to  State  Schools  of  Music.  If 
the  U.  S.  Government  is  constitutionally  unable  to 
maintain  National  Schools  of  Music,  any  comparison 
with  European  governments  so  licensed  by  their  con- 
stitutions, would  be  unjust  and  misleading.  The 
statistics  given  are  intended  merely  to  show  what  the 
various  governments  are  doing  along  the  line  of 
national  support  of  musical  culture,  and  no  compari- 
son is  attempted.  Our  States  and  cities  are  expend- 
ing vast  sums  upon  music.  The  contention  of  the 
author,  however,  is  that  State  Musical  Colleges  will 
not  produce  a  national  type  of  music,  and  that  the 
highest  ideal  rests  in  a  Federal  control  of  musical 
culture.  When  music  can  be  regarded  as  a  national 
need,  and  not  merely  as  a  social  diversion,  the  Fed- 
eral government  may  see  its  way  clear  to  a  Federal 
support  of  musical  education.  Music  as  an  impor- 
tant measure  in  social  control,  and  as  an  equally  im- 
portant factor  in  individual  health,  belongs  under  the 
eye  of  the  national  head.  With  the  faint  hope  that 
this  place  will  sometime  be  granted  to  music,  we  sub- 
mit this  work. 


CHAPTER  IV. 

Toneurology:  A  New  Branch  of  Study. 

Humanity  then  must  maintain  its  pulse  in  a  rhyth- 
mic-stimulation-and-repose-for-distribution  system. 
This  can  best  be  done  by  the  greater  exercise  of  the 
emotional  nature,  and  by  the  indulgence  of  romantic 
ideals,  for  emotions  are  pulse-lifters,  dragging  the 
stagnant  life  motions  up  to  a  normal  mean  rhythm. 
The  man  or  nation,  whose  pulse  is  kept  most  con- 
stantly keyed  up  to  the  normal,  is  the  man  or  nation 
which  achieves  the  finest  results.  Our  four  national 
examples,  England,  France,  Germany,  and  Italy, 
demonstrate  these  emotional  products.  Germany 
leads  in  her  quality  of  musical  (or  emotional)  out- 
put. Because  she  led  during  the  century  in  her  suffer- 
ings, prepared,  as  they  were,  by  so  much  of  heart 
breaking  experience  during  the  preceding  century. 
France  comes  next.  Her  national  emotions  have  been 
weakened  in  tragic  elements  by  the  love  of  the  spec- 
tacular, by  the  intellectual  need  of  vivid  pictures 
and  colors,  and  by  the  assertiveness  and  pride  of  an 
ancestral  supremacy,  hard  to  subdue  to  the  state  of 
tender  romance  and  heart  tragedy,  which  charac- 
terized Germany's  strong  and  sentimental  tempera- 
ment.    After  France  comes  Italy,  emotional,  poetic, 

56 


TONEUROLOGY  57 

merry-hearted,  making  a  farce  of  tragedy  because 
her  century's  life  produced  so  little  national  sadness. 
Only  in  recent  years  has  it  come  to  be  felt  that  the 
mean  rhythm  of  Germany  can  become  like  the  mean 
rhythm  of  any  nation,  even  of  Italy,  if  the  depths 
or  motions  are  sounded  as  were  Germany's.  Eng- 
land brings  up  the  rear,  her  century's  mean  rhythm 
being  far  below  the  high  water  mark.  This  is  shown 
by  the  delicate  comedies,  and  naive  sentimentalism  of 
her  music,  which  are  the  fit  measure  of  her  national 
pulse  rate  of  emotionalism. 

/  Music,  as  a  human  need,  carries  us  deep  into  the 
secrets  of  life,  and  will  in  time  open  the  way  for  a 
I  new  science.  Music  is  not  the  name  for  this  new 
branch  of  knowledge,  as  the  study  would  involve  an 
exhaustive  investigation  of  nervous  reactions  in  their 
social  and  individual  relations  to  sound  vibrations. 
We  would  suggest  the  name  "Toneurology"  because 
tone  is  understood  in  all  modern  languages,  and 
"neuros"  has  the  same  advantage.  This  study  would 
involve  research  along  entirely  new  lines,  such  as  an 
investigation  of  motions  in  bodily  organs;  mathe- 
matical estimation  of  the  vibration  value  of  each 
pulse  beat,  and  of  the  sums  of  tone  vibrations  in 
chords,  upon  one  instrument  and  upon  many,  as  In 
an  orchestra;  the  rate  of  increase  or  decrease  of  the 
pulse  after  contact  with  tonal  force,  with  approxi- 
mate computation   of  the  time  that  the   latter   can 


58  MUSIC  AS  A  HUMAN  NEED 

maintain  a  normal  pulse,  and  the  necessary  fre- 
quency of  its  application.  The  research  student  in 
this  new  science  must  have  a  working  knowledge  of 
physics,  biology,  pyschology,  sociology,  harmony, 
counterpoint,  musical  history,  political  history  and 
physiology,  with  a  new  study  of  the  Human  Will. 
We  should  thus  add  a  new  science  to  the  group  of 
exact  concrete  sciences. 

It  is  with  no  little  diffidence  that  we  suggest  this 
as  a  new  branch  of  study.  There  are  indications 
that  universities  adopting  Music  into  their  lists  of 
studies,  recognize  the  need  of  Music's  closer  touch 
with  scientific  courses.  If  Music  Is  ever  to  outgrow 
its  swaddling  clothes  of  sentimental  and  frivolous 
superficiality,  and  mere  amusement  conception,  it 
must  clearly  manifest  Its  scientific  dignity,  and  its 
inseparable  connection  with  physics,  sociology,  bi- 
ology and  pyschology.  It  must  take  its  place  among 
those  studies  which  encourage  scientific  tests  and  life- 
long research.  ,  It  must  leave  its  hitherto  "divine 
aspect"  on  the  rubbish  heap,  along  with  the  "divine 
rights"  of  kings,  magic,  ancestor  worship,  and  ghost 
theories.  We  believe  some  secrets  of  life  preserva- 
tion will  be  found  in  Toneurology. 
t  The  curious  effect  of  Music  upon  groups  suggests! 
/  a  possible  counterpart  of  such  reaction  upon  indivldr 
[  uals.  Music,  once  regarded  in  terms  of  motion,  with 
laws  of  motion  likewise  applied  to  the  bodily  Inte- 
grations, the  path  opens  out  clear  and  true. 


TONEUROLOGY  59 

The  fact  that  men,  in  spite  of  all  the  great  scien- 
tific discoveries,  harden  and  fade  with  age,  tends  to 
prove  that  the  human  body  has  not  been  completely 
envisaged  by  any  or  all  of  them.  We  offer  here  a 
study  which  includes  many  of  the  abstract  and  con- 
crete sciences  but  directed  towards  a  new  combina- 
tion, i.  e.,  tone  and  nerve,  to  be  tested  and  quantita- 
tively measured  under  the  laws  of  motion  instead  of 
under  the  laws  of  perception  and  of  appreciation. 
We  take  Music  out  of  the  field  of  ideals  entirely, 
and  place  it  upon  a  level  with  rhythm  establishers, 
incident  forces,  and  pulse  fillers.  Our  statistics*  show 
the  sub-conscious  appreciation  of  Music  as  a  human 
need  by  the  countries  represented,  and  those  govern- 
ments show  a  larger  proportion  of  internal  unrest 
where  musical  provision  is  small.  This  test,  although 
indicative,  is  far  from  satisfactory,  since  no  pro- 
vision, adequate  to  act  constantly  upon  the  life  forces, 
has  as  yet  been  made. 


*See  page  102. 


PART  II. 

The  Inter-Reactions  of  Music  and  National 

Life. 

Introductory  Note  to  Chapters  V-VII. 

The  following  outlines  of  musical  productions  dur- 
ing the  Nineteenth  century  in  Italy,  England,  Ger- 
many, France,  and  the  United  States,  are  intended  to 
show  how  precisely  the  depth  and  nature  of  disturb- 
ances are  measurable  by  the  Music  of  each  country. 
Each  musical  type  pictures  the  "need"  of  the  nation 
in  question,  and  is  peculiar  to  the  character  of  each 
human  aggregate. 

The  statistics  received  by  us  and  presented  later 
in  this  work,*  indicate  not  only  the  extent  to  which 
Music  is  now  regarded  in  its  utility  aspect  by  different 
nations,  but  also  show  the  protection  given  to  this  as- 
yet-misunderstood  force.  In  this  day  of  general  cul- 
ture, the  reader's  acquaintance  with  the  main  outlines 
of  the  political  and  economic  history  of  these  peoples 
may  be  assumed.  The  Music  of  each  nation  will  be 
seen  to  picture  closely  the  national  emotions  conse- 
quent upon  the  national  stimuli. 


*The  statistics  upon  which  these  conclusions  are  based  will 
be  found  in  Appendix  C  and  E. 

60 


CHAPTER  V. 

Italy  (1800- 19 13). 

National  Music  is  the  language  of  national  emo- 
tion. The  latter  is  the  result  and  reflection  of  eco- 
nomic stimuli.  The  Music  of  a  period  exhibits  the 
characteristics  of  national  disturbances  at  every 
point  in  economic  history. 

Italy,  subjected  to  a  much  lighter  form  of  stimuli 
than  England  or  Germany,  has  not  yet  ceased  to 
manifest  her  short-duration-excitability,  her  love  of 
the  merely  sensuous  in  beauty,  which  shows  that  the 
ancient  intense  disturbances  of  her  real  depths  have 
not  been  repeated  in  recent  times. 

The  period  from  1800  to  1848  presents  a  mental 
state  of  little  disturbance,  the  Italian  social  mind 
having  not  yet  awakened  from  its  Eighteenth  cen- 
tury submissiveness  and  inaction.  It  will  be  interest- 
ing to  analyze  emotions  of  this  period  and  their  ex- 
pression in  Music. 

Was  tragedy  the  dominant  factor  in  economic  life? 
No.  The  social  pressure  of  this  period  was  light, 
even  merry,  with  the  lightness  of  lazy  enjoyment  in 
an  unambitious  mind.  Curiosity  was  awakened  but 
it  was  in  its  wonder  stage,  acting  slowly  upon  hints 
received   from   the   cynicism   of   France,   from   the 

61 


62  MUSIC  AS  A  HUMAN  NEED 

power  of  labor  ideas  from  England,  and  from  the 
disrespect  for  Papal  authority  coming  from  Ger- 
many. Like  a  mirror  for  the  reflection  of  the  sharp 
but  shallow  emotions  produced  by  these  stimuli,  were 
the  musical  works  of  Rossini  constituting  the  public 
emotional  valves.  The  "Barblere  dl  Sevilla,"  with 
its  witching  humor.  Its  delicate  satire,  Its  political 
allusions,  and  its  portraits  of  the  life  of  the  nation, 
was  a  constant  source  of  delight  to  unreflecting 
Italian  thought.  Rossini's  skill  in  the  opera-buffa 
was  marked.  For  the  party  of  the  Catholic  faith  he 
composed  his  "Stabat  Mater,"  equally  fine,  but  pic- 
turing even  In  these  more  serious  emotion-valves, 
those  superficial  moulds  In  which  the  public  thought 
was  cast.  The  works  of  Donizetti  were  no  less  be- 
witching and  no  less  trivial,  w'hile  the  soft  and  senti- 
mental character  of  Bellini's  genius  found  answering 
echoes  in  every  Italian  ideal.  Dramatic  passion  was 
not  lacking  in  "Norma,"  but  the  atmosphere  of  even 
this  glimpse  of  future  depth  in  Italian  emotionalism, 
was  never  quite  free  from  the  weak  traits  of  Bell- 
ini's school.  Vocalism  extraordinary  was  the  demand 
of  the  opera,  and  the  display  in  voice  technique  was 
remarkable.  This  was  not,  however,  out  of  place 
in  comedy  opera,  where  depth  of  sentiment  never 
reached  the  modern  ridiculous  spectacle  of  vocalized 
heart  breakings,  tuneful  murders,  and  death  gasps 
upon    assigned    tone     pitches.      The     over-dressed 


ITALY  63 

orchestrations  of  present  day  operas,  the  senseless 
howling  of  a  single  voice  above  the  combined  vibra- 
tions of  a  hundred  or  more  active  instruments,  the 
absurd  idea  of  profound  vocal  passion,  had  not  yet 
distorted  the  original  operatic  idea,  which  still  dwelt 
in  the  true  realm  of  its  effectiveness,  namely,  that  of 
the  presentation  of  the  lovely,  the  gay,  the  pathetic, 
the  comic.  The  supremacy  of  the  human  voice  as  a 
vehicle  of  expression  was  in  no  way  endangered  by 
the  abnormal  taste  of  our  own  day.  Toward  the 
middle  of  the  Nineteenth  century,  as  the  spirit  of  the 
time  deepened  in  intensity,  operas  of  a  more  serious 
nature  held  their  share  of  public  attention.  Doni- 
'  zetti's  "Lucrezia  Borgia"  was  presented  in  1844, 
after  several  others  of  dramatic  color,  among  which 
Rossini's  "William  Tell"  and  "Othello"  were  works 
of  real  dramatic  power. 

For  several  centuries  the  State  had  exercised  con- 
trol over  musical  education  in  Italy.  In  Rome,  from 
its  earliest  days,  institutions  of  Music  had  existed. 
Music  was  regarded  as  a  necessity  rather  than  as  a 
luxury.  Such  will  be  the  attitude  assumed  toward 
Music  in  the  future,  when  psychologists  and  soci- 
ologists shall  have  studied  more  deeply  into  the  re- 
lations of  artificially  created  rhythm  to  bodily 
rhythm,  and  also  into  the  need  of  re-establishing  dis- 
turbed bodily  rhythm,  manifested  in  the  abnormal 
pulse  during  emotional  states  of  mind. 


64  MUSIC  AS  A  HUMAN  NEED 

During  the  Eighteenth  century  each  of  the  large 
towns  of  Italy  supported  its  own  opera  house  and  one 
cannot  estimate  to  what  extent  these  emotion  valves 
were  instrumental  in  the  easy  subjugation  of  the 
people. 

Were  Music  to  be  banished  from  any  one  of  the 
civilized  countries  today,  anarchy  might  very  shortly 
result.  Who  can  say  that  the  frenzied  license  which 
followed  Cromwell's  suppression  of  musical  indul- 
gence, was  not  due  in  part  to  the  closing  of  England's 
emotion  valves? 

The  present  craze  for  the  violent  action  dances, 
represented  in  the  turkey-trot  and  the  tango,  is,  in  the 
opinion  of  the  author,  a  natural  expression  of  the 
human  need  of  pronounced  rhythm.  It  is  a  sub-con- 
scious effort  to  supply  the  lack  of  pronounced  rhyth- 
mic stimulus  in  economic  life.  The  late  tendency  in 
musical  composition  has  also  been  away  from  the  old 
rhythmic  accent  and  in  the  direction  of  disturbed 
harmonies,  and  lack  of  restful  melodies.  Thus  the 
over-stimulated  nerves  of  humanity  have  been  ex- 
posed to  an  unchecked  abnormality  of  their  motions. 
The  dances  above  mentioned  partly  remedy  this  de- 
fect in  bodily  action,  and  restore  relative  equilibrium 
— hence  the  craze  for  this  form  of  amusement. 
Notice,  however,  that  people  will  not  take  part  in 
either  of  these  dances  for  a  moment,  without  the 
Music.     The  movement  alone  is  not  the  need;  the 


ITALY  65 

Music  is  the  chief  factor,  the  rhythm  of  which  is 
merely  accented  and  accentuated  by  the  movements. 
These  dances  may  be  saving  the  sanity  of  countless 
thousands.  Why  then  the  suggested  ban  on  this 
human  need?  If  these  dance  forms  are  not  desir- 
able, then  sweep  away  the  present  musical  abomina- 
tions and  bring  melody  and — above  all — marked 
rhythm  within  reach  of  the  masses. 

We  shall  now  proceed  to  take  up  the  thread  of 
Italian  musical  life  at  1848  when  social  pressure  was 
assuming  a  darker  hue,  acute  even  in  its  short-lived 
terrors,  as  befits  the  Italian  temperament.  This  tem- 
perament, unlike  that  of  Germany  under  tragic  con- 
ditions, must  either  die  in  despair  or  recover  quickly. 
It  is  ever  in  short  runs  between  sobs  and  a  jest,  ever 
in  fiery  moments  and  merry  half-hours,  ever  child- 
like at  heart,  yet  marvellously  gifted,  beauty-loving 
and  sentimental.  Italy  might  not  live  through  a 
"Thirty  Years  War,"  but  with  the  inspiration  of  the 
right  leaders,  she  might  create  a  new  Roman  Re- 
public, under  the  forceful  stimulus  of  oft-relieved 
bursts  of  enthusiasm. 

The  strenuous  years  from  1848  to  i860,  sufficient- 
ly aroused  the  Italian  spirit  to  produce  much  that  has 
since  developed  to  the  credit  of  the  country.  A 
deeper  tone  had  been  struck  in  Italian  ideals,  though 
not  sufficiently  deep  to  revolutionize  completely  the 


66  MUSIC  AS  A  HUMAiN  NEED 

nation's  taste  for  those  old  forms  of  Music,  so  essen- 
tially a  part  of  the  melody  loving  race. 

Still  tragedy  shadowed  the  public  mind,  and  Ver- 
di pictured  these  gloomy  years  in  the  operas  "Rigo- 
letto"  (1851),  "La  Traviata"  (1853),  "II  Trova- 
tore"  (1853),  and  "Aida"  (1871).  Verdi  was  the 
idol  of  the  people,  because  his  genius  fitted  into  the 
conditions  of  his  time,  illustrating  the  theory  of  the 
present  investigation. 

The  ignorance  of  the  Italians,  patricians  and  peas- 
antry alike,  made  the  functioning  of  Italy's  really 
great  literary  works  during  the  Nineteenth  century, 
impotent  as  stimuli  productive  of  national  and  con- 
temporaneous reactions.  Of  late,  however,  a  new 
educational  impulse  has  been  given  by  the  establish- 
ment of  the  public  school.  This  is  certain  greatly  to 
increase  stimuli  products  in  the  Italian  nervous  sys- 
tem, and  the  Italian  need  for  a  corresponding  com- 
plexity in  its  Music  is  even  now  being  manifested. 

With  the  installation  of  transport  facilities  to  the 
new  world,  a  fresh  and  somewhat  romantic  stimulus 
has  been  given  to  the  Italian  people.  The  letters  of 
absent  relatives  reflect  world  news,  and  widen  mental 
views  for  whole  villages.  Besides,  railroads  have 
opened  up  new  intercourse  between  the  various  parts 
of  Italy,  and  the  telegraph,  electric  light,  new  home 
inventions,  industrial  occupations,  factories  and  so 
forth,  each  in  turn — or  at  times  all  together — have 


ITALY  67 

disturbed  the  bodily  rhythm  by  increased  stimulation, 
so  that  the  late  demands  for  realism  in  France  and 
Germany  did  indeed  find  partial  echo  in  Italy,  in 
"The  Cavalleria  Rusticana"  of  Mascagni,  a  spectac- 
ular but  not  profound  opera,  which  aroused  amazing 
enthusiasm  by  its  characteristic  presentation  of  fa- 
miliar forms.  These  were  new  in  their  realistic  color, 
yet  old  in  Italian  life,  and  they  pictured  in  their  dra- 
matic action,  the  stronger  taste  of  the  day.  Puccini 
mirrored  the  still  deeper  stimulus  of  his  time,  in  his 
"Manon  Lescaut"  (1893),  "La  Boheme"  (1896), 
"La  Tosca"  (1900)  and  "Madam  Butterfly" 
(1904),  the  latter  inconsistent  in  its  mixture  of 
tragedy  with  soft  Italian  tunefulness,  for  even  Puc- 
cini fails  to  discard  the  characteristic  tunefulness  of 
his  race,  in  his  too  evident  striving  for  such  discord- 
ant effects,  as,  however,  unintentionally  represent  the 
discordant  elements  in  Italy's  modern  civilization. 

These  works  show  that  Italy  has  awakened  from 
her  lazy  sleep  under  the  rule  of  foreigners,  and  that 
she  is  now  beginning  to  feel  the  stir  of  larger  eco- 
nomic disturbances,  in  those  depths  of  the  social 
mind,  already  so  thoroughly  stirred  and  active  in 
France  and  Germany. 

The  care  given  to  the  musical  needs  of  Italy  by 
her  central  authorities  is  shown  later  in  this  book.* 


*See  Appendices  C  and  E. 


CHAPTER  VI. 

England  (1800-19 13). 

The  history  of  England  during  the  Nineteenth 
century  presents  but  little  disturbance  at  home,  along 
lines  calculated  so  to  move  mental  depths,  as  to  pro- 
duce complicated  re-establishing  forms  in  musical 
rhythm.  Labor  troubles  harassed  the  national 
thought  in  their  usual  superficial  manner,  rarely  caus- 
ing the  loss  of  a  night's  sleep,  or  the  disturbance  of 
appetite,  and  the  many  reforms  in  the  interest  of 
trade,  affected  but  slowly  the  depths  of  emotionalism. 
It  has  ever  been  a  noticeable  fact,  that  impersonal 
or  distant  calamities  but  slightly  arouse  the  national 
emotions.  People  read  and  comment  upon  the 
slaughter  of  women  and  children,  and  at  the  same 
time  pleasurably  partake  of  a  good  dinner.  The  fact 
is,  that  emotions  are  not  easily  aroused  by  distant 
stimuli,  and  people  also  respond  with  ever  decreas- 
ing force  to  unchanging  present  stimuli. 

Present  day  labor  agitations  have  already  passed 
the  boundaries  of  mild  stimulation,  and  are  fast  be- 
coming emotional  forces  which  are  evidently  driving 
headlong  into  governmental  change.  Capitalism  has 
run  its  oppressive  course,  and  for  the  near  future  a 

68 


ENGLAND  69 

genuinely  soul-tearing  agitation  is  preparing,  which, 
if  allowed  to  rip  open  the  veins  of  the  nation,  will 
produce  the  stimuli,  that  eventually  will  endow  Eng- 
lish Music  with  a  richness  and  depth,  superior  to  that 
of  any  other  country.  British  emotions  have  been 
sleeping  deeply  under  two  centuries  of  mild  emotional 
stimuli,  but  when  they  do  stretch  their  strong  fibres 
for  action,  then  one  may  indeed  tremble  for  the  old 
systems  of  English  government;  and  then  also  the 
great  musical  triumphs  of  Belgium  and  Germany  may 
be  surpassed.  Considering  the  mental  attitude  of  the 
British  community  during  the  Nineteenth  century, 
and  at  the  present  day,  it  was  to  be  expected  that 
Balfe's  "Lurline"  should  represent  the  nation's  rhyth- 
mic need  up  to  1870,  and  that  the  musical  works  of 
Benedict  ("The  Lily  of  Killarney,"  and  the  oratorios 
of  "St.  Peter"  and  "St.  Cecilia"),  should  have  found 
popular  appreciation  up  to  1885.  But  the  composer 
who  best  illustrates  England's  characteristic  activity, 
— that  of  colonization, — its  military  and  political  as- 
pects, the  clean  minded  and  religious  attitude  of  Vic- 
toria's rule,  and  the  general  lightly  disturbing  charac- 
teristics of  Nineteenth  century  economic  stimuli,  was 
Sir  Arthur  Sullivan  in  his  charming  works,  "The 
Mikado,"  "Pinafore,"  "The  Pirates  of  Penzance," 
"Patience,"  "The  Yeoman  of  the  Guard,"  "lolan- 
the"  and  "The  Sorcerer."  England  did  much  in 
this  century  to  advance  the  culture  of  Music  within 


-70  MUSIC  AS  A  HUMAN  NEED 

her  borders.     The  Royal  head  was  patron  of  such 
institutions  as  The  Royal  Academy  of  South  Ken- 
sington, The  Royal  College  of  Music,  The  Guild- 
hall School  of  Music  and  Trinity  College.     These 
are  in  general  supported  by  government  grants,  dona- 
tions, and  subscribing  patrons.'     The  national  faith 
is  still  strongly  expressed  in  the  extensive  cultivation 
of  the  oratorio,  while  the  secular  ideal  has  not  yet 
become  sufficiently  abnormal  to  genuinely  encourage 
Music  of  the  present  French  and  German  schools. 
This  is  probably  because  England's  emotions  are  not 
in  need  of  such  representations,  since  they  are  still 
adequately  reflected  in  the  lighter  works  of  Italian 
genius,  as  expressed  by  Verdi"  and  in  her  own  lovely 
light  operas.    It  seems  more  than  a  coincidence  that 
the  Music  of  a  country  so  marvellously  reflects  the 
character  of  the  economic  stimuli  of  its  period,  as 
does  Great  Britain's. 

That  England  has  a  genuine  care  for  the  develop- 
ment of  musical  culture  in  her  realm  is  shown  by  the 
letter  from  the  Board  of  Education,  Whitehall, 
London.^ 


^  "American  History  and  Encyclopedia  of   Music,"  volume 
on  Foreign  Music,  p.  206. 

'We  leave  out  of  account  his  "Falstaf?." 
^  See  Appendix  E. 


CHAPTER  VII. 

Germany   (1800-19 13). 

The  world  today  is  still  perceiving  in  Germany's 
Music,  the  intensity  of  Germany's  emotions,  as 
aroused  during  the  Seventeenth  and  Eighteenth  cen- 
turies. 

Let  us  see  if  Germany's  tragic  emotionalism  has 
produced  its  likeness  in  Music,  thus  wisely  furnish- 
ing an  outlet  for  revolutionary  energy,  and  at  the 
same  time  wielding  a  powerful  and  tranquillizing 
wand  over  a  growing  restlessness  of  spirit.  Let  us 
see  whether  the  great  tragic  depths  of  emotional  life 
through  which  Germany  has  passed,  during  at  least 
two-thirds  of  the  Nineteenth  century,  support  our 
thesis  by  having  resulted  in  the  creation  of  a  deep 
and  tragic  Music,  with  revolutionary  harmony  at  its 
summit. 

Ludwig  von  Beethoven's  genius  was  such  as 
greatly  to  influence  the  entire  Nineteenth  century 
Music.  He  reigned  supreme  in  the  symphony  and 
sonata  fields,  where  dignified  composition  found  its 
most  fitting  musical  forms.  The  public  was,  at  the 
close  of  the  Eighteenth  century,  actively  supporting 
its  own  musical  market  through  publishing  houses 

71 


rj2  MUSIC  AS  A  HUMAN  NEED 

and  public  concerts,  so  that  the  exclusive  patronage 
of  the  nobility  could  be  largely  dispensed  with  by 
composers,  to  their  own  infinite  advantage,  by  mak- 
ing possible  a  wider  psychic  expression  in  their 
works,  and  in  the  production  of  Music  of  more  pro- 
nounced national  color.  Pensions  were  still  granted 
to  noted  composers,  but  these  did  not  fetter  them  as 
completely  as  they  had  formerly  done.  That  Ger- 
many, at  that  time,  could  produce  a  character  so 
simple  and  noble,  as  was  manifested  by  Beethoven's 
life,  suggests  the  religious  stimuli  which  acted  upon 
his  parents.  All  of  his  early  works  exhibit  this 
chaste  adherence  to  the  established  ideals  in  Music. 
Beautiful  depths  are  revealed  everywhere,  and  a 
solemn  earnestness  pervades  his  lightest  productions. 
We  love  and  revere  Beethoven,  unconsciously  feeling 
some  strong,  pure  and  noble  influence  which  was 
awakening  in  the  German  mind.* 

The  early  years  of  the  Nineteenth  century 
brought,  with  their  political  disturbance,  a  taste  for 
the  old  knightly  ballads.  These  were,  with  the 
"Lieder,"  which  so  closely  pictured  the  newly  rising 
fearlessness  of  the  people,  beautifully  expressed  in 
the  genius  of  Franz  Schubert.    At  this  time  the  social 

*Even  Beethoven  illustrates  the  progressive  idea  of  the 
time,  in  the  evolution  of  free  initiative  in  new  forms,  exhibited 
in  his  symphonies,  which  are  progressive  steps  in  greater  free- 
dom of  treatment,  from  the  first,  to  the  revolutionary  introduc- 
tion of  choruses  in  the  ninth. 


GERMANY  73 

position  of  the  nobility  was  as  insecure  as  was  the 
political  peace  of  all  Europe.  The  rise  of  the  peo- 
ple's voice  was  shown  in  the  importance  given  to  the 
"folk-song."  Great  emphasis  was  now  laid  upon  the 
texts  of  these  songs  themselves,  thus  again  subjecting 
Music  to  poetry,  the  people's  speech,  as  opposed  to 
what  was  the  rule  in  the  Eightenth  century,  when 
texts  meant  nothing  to  the  empty-headed  aristocracy, 
and  sensuous  tones  and  bewildering  technique  held 
sway.  Yet  rhythm  still  remains  marked,  and  the 
tunes  are  still  full  of  sentimental  suggestion.  Song 
is  not  the  vehicle  of  intense  emotion,  and  indeed  at 
this  period,  emotion  had  not  yet  reached  a  point  of 
intensity  in  German  economic  life.  The  great  emo- 
tional possibilities  of  Germany  were  still  subdued  by 
petty  powers,  and  the  "Lied"  sufficiently  expressed 
the  social  pressure  of  the  time,  when  the  people  did 
not  care  much  who  ruled  them,  so  long  as  there  was 
enough  to  eat,  and  so  long  as  good  beer  accom- 
panied their  merriment.  Tragedy  was  in  action,  but 
had  not  yet  dug  her  claws  into  the  depths  of  Ger- 
man emotion.  It  was  not  the  time  for  deep  dra- 
matic opera.  The  prevailing  taste  craved  the  ro- 
mantic quality  suggested  by  war  heroes  of  the  Na- 
poleonic type.  Napoleon's  almost  unvarying  triumph 
embellished  his  reputation  with  god-like,  impossible 
attributes.  Finally  his  romantic  sway  and  sad  end 
awakened  echoes  of  ancient  chivalry  in  the  thoughts 


74  MUSIC  AS  A  HUMAN  NEED 

woven  about  his  name.  As  a  matter  of  fact,  Schu- 
bert's works  were  not  pubHshed  before  1821,  be- 
cause the  German  musician  was  still  dominated  by 
the  ItaHan  school.  The  disturbed  period  before  this 
date  was  unproductive  of  nationalism  in  any  form. 
The  mental  color  of  1821  was  essentially  lyrical,  and 
Schubert's  songs  struck  the  right  note  in  public  feel- 
ing from  this  date  on.  New  forms  were  arising  on 
every  hand.  Classic  themes  had  had  their  day. 
Schiller  and  Goethe  had  inspired  art  and  literature 
with  new  ideals.  Carl  von  Weber  exhibited  new 
methods  in  his  epoch  marking  German  opera  "Der 
Freischutz,"  in  1821.  This  opera  sounded  the  death 
knell  of  the  reign  of  Italian  Music  in  Germany.  In 
this  work  von  Weber  dared  to  picture  the  real  life 
of  the  German  people,  and  to  give  the  folk-song  a 
prominent  position,  though  he  weakened  the  presen- 
tation by  the  introduction  of  supernatural  effects. 

Note  the  public  mind  in  this  success!  Germany 
wanted  its  own  texts,  its  own  life,  its  own  style  repre- 
sented in  the  Music  it  was  to  enjoy.  When  had  the 
Germans  ever  dared  to  show  so  strange  a  tendency 
before?  Then  came  the  "heroic"  opera  with  its  silly 
plot,  sustained  musical  invention,  new  method  of 
treating  the  recitative  as  part  of  the  melody,  and 
greater  richness  of  orchestral  effects,  in  which  one 
sees  the  first  touches  of  real  dramatic  instrumental 
treatment.     Von  Weber  was  the  flag-pole   for  the 


GERMANY  75 

banner  of  Wagner,  and  his  genius  is  a  true  reflec- 
tion of  Germany's  social  pressure.  Up  to  1859 
Spohr  exerted  a  serious  and  dignified  influence  upon 
the  violin  art  of  Germany,  but  his  heavier  works  did 
not  reach  the  importance  of  von  Weber's,  which  had 
truly  illustrated  the  mental  tendency  of  the  time.  In 
works  of  great  beauty  and  merit  Kreutzer,  Lortzing 
and  Nicolai  represented  different  phases  of  this  social 
mind. 

Robert  Schumann  did  not  contribute  to  the  actual 
need  of  the  people  until  1 840-1 841  when  he  pro- 
duced a  large  number  of  exquisite  songs.  His 
paino  works,  however,  exhibit  more  originality  and 
greater  strength  and  depth;  they  indicate  a  greater 
mastery  of  the  classic  ideal,  show  extended  chord 
effects,  and  present  broadness  of  idea.  A  new  feature 
here  was  the  syncopated  accent.*  This  was  the  be- 
ginning of  that  breaking  of  the  rhythmic  effect  which, 
to  our  mind,  has  not  only  been  detrimental  to  the 
beneficial  results  of  Music  as  a  rhythm-re-establisher, 
but  which  has  also  been  the  forerunner  of  our  Amer- 
ican "craze"  for  "ragtime"  Music.  It  was  an  "out- 
of-order"  effect,  and  came  from  an  "out-of-order" 
mind,  for  poor  Schumann  died  insane  at  Bonn  in 
1856.    Schumann,  more  than  any  other  composer  of 


*Beethoven's  exquisite  works  for  stringed  instruments  show 
syncopation  effects,  but  the  hard,  syncopated  "accent"  seems 
first  evident  as  sharp  contrasts,  in  the  works  of  Schumann. 


76  MUSIC  AS  A  HUMAN  NEED 

his  time,  connected  economic  stimuli  with  emotional- 
ism, and  the  titles  he  gave  his  piano  works,  revealed 
his  belief  that  Music  could  be  made  to  express  defi- 
nite conceptions,  Schumann  not  only  felt  the  need 
of  rhythmic  works,  but  he  also  produced  them,  and 
the  richness  of  his  harmony  is  more  pronounced  in 
effect  than  Schubert's.  Yet  even  Schumann  did  not 
sound  the  depths  of  German  tragedy,  because  the 
social  pressure  was  not  yet  charged  with  tragic  stim- 
uli. The  century  had  not  yet  wrung  the  German 
heart.  It  was  still  submissive,  although  in  fearful 
contemplation  of  its  possibilities,  nor  had  it  as  yet 
been  aroused  into  active  fury  for  national  unity. 
Tragedy  alone  could  fully  move  those  much  tried 
Teutonic  depths.  The  interest  manifested  in  Schu- 
mann's musical  periodical  "Die  Neue  Zeitschrift  fiir 
Musik"  proved  that  the  growth  of  musical  knowl- 
edge in  public  culture  was  keeping  pace  with  the  in- 
creasing complication  of  economic  life,  and  with  the 
growing  intensity  of  its  emotion-producing  in- 
fluences. As  complicated  as  the  forces  which  succeed 
in  arousing  national  emotions,  are  the  musical  con- 
structions which  are  contemporaneous  with  such 
forces.  Mendelsohn  reflected  the  reactionary  feeling 
of  one  part  of  public  thought,  but  he  did  not  domi- 
nate in  his  field  as  did  von  Weber  and  Schumann. 
Bach  and  Handel  influenced  his  work,  and  lent  it  the 
chief  beauty  evident  in  his  many  charming  produc- 


GERMANY  77 

tions.  His  own  life  of  ease  and  wealth  prevented  his 
being  subjected  to  those  harrowing  experiences,  so 
necessary  to  the  soil  of  genius.  For  these  reasons  he 
cannot  represent  more  than  a  certain  phase  of  that 
whole  social  mind,  which  found  its  complete  reflec- 
tion in  Schumann.  During  the  period  before  1849, 
it  is  significant  that  the  waltz  and  the  operetta  should 
have  begun  their  shallow  but  necessary  existences  in 
German  life.  Progress  and  prosperity  had  given  a 
kind  of  careless  capacity  for  enjoyment  to  the  people, 
and  a  tendency  toward  unhealthy  sluggishness  of  the 
national  pulse.  But  we  must  notice  that  the  public 
demanded  the  most  pronounced  rhythm  as  a  means 
of  imparting  to  the  body  an  excitation  of  a  higher  de- 
gree of  rhythmic  motion.  This  was  supplied  perfect- 
ly in  the  waltz.  Was  this  the  first  step  backward  to 
Grecian  rhythmic  exercises?  The  dance  is  as  old  as 
human  life,  but  the  waltz  is  peculiarly  sensuous  and 
suavely  rhythmic,  and  its  development  by  Johann 
Strauss  came  at  an  extraordinarily  receptive  moment 
in  social  desire.  One  must  attempt  to  place  one's 
own  consciousness  in  the  imaginary  body  of  a  per- 
son living  in  those  times.  In  order  to  feel  the  need 
of  the  waltz.  As  our  own  time  is  near  enough  in 
stimuli  similar  to  that  period  before  1848,  the  feat 
may  not  be  impossible.  The  younger  Strauss  re- 
flected most  perfectly  the  restful  period,  which  fol- 
lowed the  unification  of  the  Germans. 


78  MUSIC  AS  A  HUMAN  NEED 

But  Richard  Wagner  marks  the  highest  point  of 
German  social  pressure.  This  master  did  not  defeat 
our  thesis  in  the  least  degree,  even  in  his  early  works, 
which  were  as  conservative  as  any  others  ol  the 
times.  Until  1842  his  life  was  unsettled  and  his 
career  doubtful.  "Rienzi,"  given  at  Dresden  in  this 
year,  proved  a  great  success,  and  in  1843  ^is  "Flieg- 
ende  Hollender"  showed  the  first  positive  adoption 
of  revolutionary  ideas  in  Music,  although  "Rienzi" 
contained  some  significant  references  to  freedom 
and  to  the  power  of  the  people.  Wagner  certainly 
held  the  radical  convictions  of  the  time,  and  his  later 
works  were  undoubtedly  inspired  by  the  stirring  stim- 
uli of  then  existing  social  pressure.  In  1850  "Lohen- 
grin" was  produced  with  great  success.  Many  trials 
tormented  the  spirit  of  Wagner  until  1861,  when  his 
"Tannhiiuser"  was  produced  in  Paris  amid  the 
howling  of  radical  mobs,  who  literally  forced  it  into 
failure.  All  this  time  his  operas  had  been  a  part  of 
Germany's  operatic  repertoire,  but  his  greatest 
strokes  in  musical  revolution  were  yet  unfelt.  Hu- 
miliation and  poverty,  malice  and  active  enmity, 
assailed  him  at  every  point.  Yet  bravely  defiant, 
truly  reflecting  the  German  temper  of  that  period, 
he  succeeded  in  gaining  the  patronage  of  King  Lud- 
wlg  II  of  Bavaria,  and  in  1865  "Tristan"  was  pro- 
duced. This  was  a  work  which  entirely  overturned 
the  traditional  structure  of  operatic  ideals  and  made 


GERMANY  79 

It  possible  for  his  enemies  to  deprive  him  of  his 
hoped-for  refuge  in  the  King's  favor.  But  in  1868 
"Die  Meister Sanger"  was  performed  at  Munich. 
This  work  presented  a  genuine  plea  for  greater  free- 
dom in  art  creations  and  exhibited  a  perfection  of 
musical  treatment,  combined  with  daring  innovations, 
which  to  this  day  constitute  a  lasting  charm.  After 
many  misfortunes,  but  with  a  consciousness  that  his 
works  had  established  German  opera  upon  a  new  and 
ideal  basis,  Wagner  realized  his  dreams  in  the  pro- 
duction of  "Der  Ring  des  Nibelungen"  in  his  own 
theatre  at  Bayreuth,  in  August,  1876.  Note  how 
close  in  time  was  Wagner's  climax,  in  his  activity  of 
revolutionary  Music,  and  the  triumph  of  united  Ger- 
many over  the  disdainful  powers  of  Europe  !  At  one 
and  the  same  period  (1876),  we  see  Wagner  estab- 
lished as  the  German  emotional  dictator,  and  Ger- 
man solidarity  in  Prussia's  settled  supremacy.  At 
this  time  also,  after  a  most  distressing  period  of 
bloody  warfare  and  mental  torture,  all  Europe  was 
at  comparative  peace.  Does  not  our  thesis  hold 
good? 

Now  in  the  years  of  progress  and  peace  from  1876 
to  1882,  what  happens  to  the  mind  of  Wagner,  as 
we  behold  him  finally  freed  from  toil,  poverty,  en- 
mity and  humiliation?  The  same  thing  that  hap- 
pened to  the  social  mind  under  the  suave  Influence  of 
constitutional  government,  headed  by  a  wise  and 
good  king.     Stimuli  became  softer,  and  the  social 


8o  MUSIC  AS  A  HUMAN  NEED 

mind  became  more  complicated  in  sense-percep- 
tions, more  sentimental,  with  a  dramatic  ex- 
pression less  colored  by  earthly  strife  and  blood, 
more  refined  by  spiritual  and  intellectual  habits, 
and  lo!  in  1882  "Parsifal"  marks  the  last  pro- 
duction of  the  mighty  Wagner.  This  work  pre- 
sents a  decided  falling  back  from  the  standards  he 
had  created  in  spontaneity  and  thematic  develop- 
ment. The  fact  and  the  cause  are  plain.  The  cause 
of  the  "falling  off"  is  to  be  found  In  the  absence  of 
deeply  stirring  economic  stimuli,  In  the  social  pres- 
sure of  the  quiet  years  during  which  this  work  was  In 
preparation.  Let  the  historical  facts  speak  for  them- 
selves. Assuredly  the  day  will  come,  when  sociolo- 
gists and  psychologists  will  recognize  as  a  scientific 
phenomenon,  and  one  admitting  of  quantitative 
psychiatric  measurement,  the  relation  between  social 
nerve  disturbance  in  emotion,  and  social  tranqullllza- 
tion  in  Music,  with  Its  uncountable  millions  of  vibra- 
tions which  strike  the  nerves,  and  act  in  ways  now 
seemingly  mysterious,  upon  the  life  of  a  group. 

With  Wagner's  death,  attention  descends  the 
mount  of  achievement  along  emotional  lines  in  Ger- 
many Brahms,  Strauss,  Bruch,  Bruchner  and  other 
recent  composers,  all  cling  to  the  robe  of  Wagner. 
Here  and  there  these  composers  attempted  altera- 
tions which  distorted  his  idea,  but  succeeded  only  in 
picturing  the  milder  intellectual  stimuli  which  now 
ruled  German  thought. 


CHAPTER  VIII. 

France  (1800-19 13). 

France,  as  a  most  progressive  nation,  presents  a 
splendid  musical  system  and  a  correspondingly  good 
product  of  musical  culture.  The  French  national 
mind  is  peculiarly  sensitive  to  modern  social  pressure. 
Let  this  pressure  be  relieved  by  musical  rhythm  and 
France  will  bound  ahead  in  musical  paths  as  she  has 
in  so  many  other  lines.  In  money  expenditure,  she 
stands  high,  but  this  expenditure  is  made  largely  in 
Paris.  Culture  in  a  State  must  be  considered  in  its  re- 
lation to  all  of  its  inhabitants,  and  while  France 
shows  a  large  absolute  expenditure,  her  per  capita  ex- 
penditure is  relatively  low.  This  expenditure,  how- 
ever, is  independent  of  private  donations,  which  have 
no  place  in  State  control,  and  which  are  a  detriment 
rather  than  a  benefit  to  the  general  public,  represent- 
ing as  they  do,  a  control  by  the  princely  "fads"  of 
a  ruling  class.  National  musical  genius  is  expressed 
in  the  degree  to  which  the  national  emotions  are 
aroused  by  national  stimuli.  Had  France  reacted  to 
her  social  pressure  in  the  same  manner  as  did  Ger- 
many with  practically  the  same  stimuli,  our  history 
might  have  properly  closed  with  Germany's  triumph. 

81 


82  MUSIC  AS  A  HUMAN  NEED 

But  France  had  received  quite  a  different  mental 
preparation  from  that  which  tortured  the  German 
heart  in  the  i8th  century,  and  the  nature  of  French 
emotionahsm  was  both  far  less  sincerely  tragic,  and 
far  more  highly  intellectual  at  every  phase,  than  was 
Germany's.  The  common  people  of  France  were 
indeed  subjected  to  genuine  misery  before  the  down- 
fall of  the  monarchy,  but  they  were  ever  arrayed 
in  the  glory  of  a  conquering  nation, — a  leading 
power,  conscious  of  its  own  supremacy  in  European 
affairs,  although  the  peasantry  were  ground  down 
with  taxes,  and  made  to  be  the  overburdened  sup- 
porters of  a  vicious  royalty;  yet  the  tone  of  the  public 
mind,  while  somewhat  critical,  was  chiefly  domin- 
eering, and  capable  of  great  enthusiasm.  Free 
thought  was  still  in  the  freshness  of  youth,  so  that 
oppressions,  as  they  came,  were  analyzed  and  de- 
nounced even  while  endured.  Germany  had  never 
thought  of  doing  this  until  1848.  The  troubles  of 
France  were  a  direct  consequence  of  the  desires  of 
the  common  people,  and  were  not  so  much  brought 
upon  them  by  outside  forces,  as  they  were  voluntarily 
encountered  and  even  created,  by  themselves,  in 
their  conscious  development  of  a  new  idea  of  popular 
rule.  France  wanted  to  do  great  and  new  deeds 
before  she  was  mentally  ready  for  such  achieve- 
ments, and  her  trials  were  of  her  own  making.  This 
fact  does  not  lessen  her  emotional  response  to  her 


FRANCE  83 

social  pressure,  but  it  does  color  it  with  a  certain 
control  even  in  its  deepest  action.  Thus  it  was  with 
France,  Napoleon  draining  her  soil  of  its  best  blood, 
but  crowning  the  nation  with  laurels.  The  philo- 
sophical spirit  aroused  by  the  genius  of  Voltaire  did 
not  weaken  even  under  this  glory,  and  the  French 
mind,  although  wearied  by  the  revolution,  rested 
only  a  moment  in  the  re-actions  under  Napoleon. 
The  reckless  Republic  was  but  the  first  sign  of  the 
new  national  temper,  and — although  all  Europe 
united  to  subdue  it,  and  Napoleon's  Empire  patted 
it  into  momentary  quiet  with  an  encouragement  of 
all  forms  of  progress — the  national  mind  had  tasted 
freedom  and  the  old  tolerance  of  royalty  was  dying. 
During  the  fourteen  years  of  his  reign,  Napoleon 
gave  substantial  benefits  to  France.  Continental 
Europe  bent  in  submission  at  his  feet.  Although  the 
French  people  hated  the  old  idea  of  monarchy,  they 
could  not  deny  the  advantages  which  France  received 
from  his  powerful  genius.  His  death  in  1821  left 
his  former  subjects  in  a  bad  way,  the  people  striving 
for  constitutional  government,  against  the  allies  in 
favor  of  absolutism.  But  little  by  little,  certain  ad- 
vances were  made  by  the  people,  in  a  gradual  asser- 
tion of  their  opinions.  Revolution  was  a  constant 
menace  in  the  social  pressure  of  the  half  century  fol- 
lowing Napoleon's  downfall. 

The  rebellious  fanaticism  underlying  each  and  all 


84  MUSIC  AS  A  HUMAN  NEED 

of  civilized  manifestations,  is  certain  to  strike  new 
and  staggering  blows  at  the  commercialism  of  our 
times.  We  feel  as  though  terror  and  its  causes  in 
religion  were  lurking  very  near  the  surface  of  the 
world  politics  today. 

Along  many  lines  France  has  not  lost  her  old 
ascendency  in  leadership,  but  her  discipline  has  per- 
haps been  too  weak  in  the  direction  of  dogged  per- 
sistence. Her  actions  possibly  have  been  governed 
at  home  and  In  her  colonization  efforts,  by  too  much 
of  a  fatalistic  policy,  to  give  strong  promise  of  any 
continuous  establishment  of  power  under  the  people's 
rule.  Yet  much  Is  to  be  expected,  from  the  daring 
courage,  enthusiasm,  and  intellectual  splendor  of  the 
French  mind. 

The  whole  country  has  furnished  a  strange  con- 
trast to  German  social  reaction,  for  under  the  same 
stimuli  the  one  wept  while  the  other  laughed.  Dur- 
ing the  first  forty  years  of  the  Nineteenth  century, 
the  piano  virtuoso,  with  his  superficial  flourishes  of 
finger  technique  reigned  supreme  over  instrumental 
Music  in  France.  The  sonata,  so  representative  of 
dignity  and  noble  sentiment,  was  accorded  only  an 
obscure  position  during  this  superficial  period,  and 
the  short  piano  piece  took  its  place.  On  the  other 
hand,  performers  gave  stimulus  to  improvements 
in  piano  manufacture,  as  well  as  to  composition  of 
piano  works.    Liszt  and  Thalberg  dazzled  the  Paris- 


FRANCE  85 

ians,  and  the  public  mind  demanded  no  deeper 
expression  of  its  emotional  disturbance  than  that 
which  was  represented  in  pianistic  display.  After 
1 83 1  Chopin  lived  in  Paris,  and  his  works  continued 
to  express  the  French  love  of  the  dance,  of  orna- 
mental display,  and  of  delicate  sentimentality.  But 
in  1830  the  romantic  movement  had  made  itself  felt 
in  Music  under  Berlioz,  who  produced  a  Music 
which  suited  perfectly  the  hot-headed  revolutionary 
tendencies  of  this  time.  Orchestration  attained  a 
tone-color,  a  new  technical  possibility  under  Berlioz's 
manipulation,  and  the  bizarre  aspects  of  the  then 
economic  life  were  exactly  reflected  In  his  revolu- 
tionary ejects.  His  book  on  instrumentation,  pub- 
lished in  1844,  became  an  authority,  and  he 
influenced  musicians  to  attempt  new  forms,  however 
these  might  be  opposed  to  classical  traditions.  Ber- 
lioz desired  to  invent  astonishing  instrumental  effects, 
and  did  so,  but  his  efforts  did  not  win  him  lasting 
popularity,  although  he  is  the  real  founder  of 
modern  French  Music. 

But  it  is  in  the  field  of  grand  opera  that  we  must 
look  for  those  amazingly  accurate  reflections  of 
economic  and  social  pressure,  as  evidenced  in  the 
Music  of  France  during  the  nineteenth  century. 
Cherubini  contributed  an  earnest  musicianship  to 
French  opera  seria,  but  he  exhibits  strong  influences 
of  foreign  models.     Napoleon  encouraged  only  the 


86  MUSIC  AS  A  HUMAN  NEED 

most  trivial  of  the  Italian  operas;  his  attitude  was 
naturally  disadvantageous  to  serious  attempts  in  this 
field.      Opera-comique    began    to    exhibit    dramatic 
color  under  Mehul  but  it  remained  for  Spontini  to 
reflect  the  Napoleonic  regime,  in  opera  which  glori- 
fied the  heroic  in  all  its  splendor.    His  French  works 
"La  Vestale"  (1807),  "Fernando  Cortez"  (1809), 
and  "Olympic"   (1819),  reflect  the  mental  attitude 
of  the  time,  but  true  to  this  reflection,  also  show  the 
lack  of  real  depths  of  emotions  not  yet  touched  in 
France   by  the   social   pressure   of  the   time.     The 
opera-comique  more  truly  represented  public  senti- 
ment in   the  works  of  Boildieu,   in   "Le   Calife   de 
Bagdad,"  and  "La  Dame  Blanche"  which  manifest 
a  more  serious  tone  and  refinement  than  had  as  yet 
been  known  in   this  field.     Auber,   however,   knew 
best  how  to  call  forth  French  admiration.    His  fame 
commenced  about  1820,  when  ideals  were  beginning 
to  be  colored  by  a  darker  hue  of  seriousness,  and  his 
"Fra  Diavolo"  and  "Le  Domino  Noir"  exhibit  his 
fine    gift   of   characterization.      Herold's    "Zampa" 
presented  new  orchestral  elements,  and  is  still  very 
popular  in  America  and  England.     Grand  opera  of 
the   heroic  character   received   a  strong  impulse   at 
the   hands   of   Rossini,    (who   lived   at   Paris   after 
1824),  in  his  French  work  "Guillaume  Tell"   (pro- 
duced  in    1829).      Dramatic   expression    finds   here 
some  scope,  although  without  any  great  depth,  and 


FRANCE  87 

Auber's  "La  Muette  de  Portici"  (1828),  more 
nearly  expresses  the  revolutionary  feeling  of  the 
people,  for  the  subject  of  the  Music  is  popular  revolt 
against  tyranny.  The  works  of  Meyerbeer  carry 
French  grand  opera  to  its  highest  point;  his  "Robert 
le  Diable"  (1831),  and  "Les  Huguenots"  (1836) 
fit  into  the  expression  of  those  years  admirably, 
,  while  his  last  work  "L'Africaine"  (1864),  shows 
all  of  that  ferment  in  French  thought  which  was  so 
inevitably  leading  up  to  the  Franco-Prussian  War  of 
1870. 

The  dramatic  events  of  French  Nineteenth  cen- 
tury history  had  produced  the  genuine  histrionic 
instinct  in  musical  composiiton;  and  the  complication 
of  orchestral  effects,  was  a  natural  expression  of  the 
multiplicity  of  stimuli  accompanying  every  economic 
impulse.  Consistency  in  Meyerbeer's  Music  was  as 
conspicuous  by  its  absence  as  it  was  in  the  French 
economic  world,  where  the  abnormal,  sensational, 
religious  and  absurd  were  so  inconsistently  jumbled 
up  with  plans  for  a  stable  constitutional  government, 
and  peaceful  relations  with  Europe.  Simplicity  was 
not  to  the  taste  of  the  time.  Glaring  colors  and 
noisy  effects  much  more  nearly  reflected  the  social 
mode,  and  Meyerbeer  responded  as  the  musician  in 
him  should  have  done,  to  the  prevailing  social  pres- 
sure. The  greatest  development  was  exhibited  in 
the  orchestral  dramatic  expression,   and  the  action 


88  MUSIC  AS  A  HUMAN  NEED 

in  a  scene  began  to  take  a  superior  place  above  vocal- 
ization, in  the  formation  of  the  Music  drama.  This 
departure  may  be  said  to  mark  the  beginning  of  the 
degeneration  of  the  real  purpose  of  the  opera. 

With  the  reign  of  peace  after  the  Franco-Prus- 
sian war,  a  new  element  entered  the  musical  pro- 
ductions of  the  time.  Orchestral  concerts  abounded. 
Church  Music  by  Dubois,  Gounod  and  Franck  was 
of  an  excellent  character,  in  line  with  the  increasing 
agitation  over  religious  questions.  France  needed 
rhythm,  as  a  hungry  man  needs  bread,  and  she  found 
it  in  a  partial  return  to  Bach,  and  to  the  still  earlier 
masters  of  sacred  Music.  Popular  concerts  were 
instituted  for  the  benefit  of  the  people  in  1861. 
These  have  continued  their  useful  mission  to  the 
present  day.  France  has  demanded  that  life  shall  be 
actually  pictured  in  her  Music.  This  impossible  de- 
mand is  leading  French  Music  far  from  the  relative 
characterizations  as  presented  in  Guonod's  "Faust" 
and  Bizet's  "Carmen,"  and  into  the  ridiculous  "tonal 
tears"  region,  where  a  printed  program  is  needed  to 
inform  the  hearers,  that  the  staccati  of  the  piccolo 
are  meant  to  indicate  the  rain  drops  on  my  lady's 
brow,  and  not  intended  to  announce  the  squeal  of 
a  pig.    Without  the  program,  who  would  know? 

Towards  the  close  of  the  century,  there  is  a  de- 
cline in  the  sensuous  and  mystical  elements,  both  in 
economic  and  In  musical  affairs.     Gounod's  "Faust" 


FRANCE  89 

in  1859  had  reflected  these  qualities  of  the  social 
mind,  and  his  "St.  Ceciha  Mass"  in  1856  expressed 
the  religious  attitude  of  the  people.  But  the  rise  of 
the  present  Republic  gave  the  sceptre  into  sterner 
hands,  and  the  skillful  use  of  Music  in  characteriza- 
tion was  vividly  expressed  ,  in  so  far  as  it  could  be, 
in  Bizet's  "Carmen"  in  1873.  Saint  Saens  and  Mas- 
senet show  the  intellectual  refinement  of  the  period 
now  ushered  in,  with  its  strong  suggestions  of 
dramatic  feeling  so  exquisitely  expressed,  yet  clinging 
to  ancient  models  in  melodic  construction,  and  avoid- 
ing the  harsh  and  bizarre  effects  lately  manifested  in 
French  tendencies.  Cesar  Franck,  in  his  beautiful 
oratorio,  "Les  Beatitudes"  (produced  in  1891), 
demonstrates  the  real  depth  of  religious  sentiment 
existing  under  the  intellectual  adornments  of  the 
French  mind  at  this  period,  and  the  great  depth,  and 
musical  value  of  this  work  exhibit  a  fund  of  religious 
sentiment,  which  we  do  not  believe  has  been  crushed 
by  the  recent  separation  of  Church  and  State,  and 
which  will  show  itself  in  revolt  at  no  distant  period. 
The  very  latest  operatic  works  of  French  com- 
posers are  exhibiting  a  mad  desire  for  an  expression 
of  a  national  Music,  which  looks  more  like  an  effort 
to  root  out  the  musical  supremacy  of  Germany,  than 
like  a  plan  to  establish  a  genuine  progression  in 
French  art.  France  would  like  to  have  a  Music  all 
its  own,  be  it  ever   so  ugly,  distorted,   or  bizarre. 


90  MUSIC  AS  A  HUMAN  NEED 

She  wants  to  lead  in  musical  art,  to  tear  up  old 
models,  to  force  a  new-old  scale  upon  her  half  dis- 
tracted people,  and  to  over-dress  the  misshapen 
things  in  absurd  orchestral  exaggeration,  which  so 
drowns  the  poor  human  voice,  that  the  helpless 
vocal  organ  is  obliged  to  shout  dramatic  phrases  to 
a  deafened  audience,  over  the  countless  unrestrained 
vibrations  of  a  hundred  or  more  madly  ringing  in- 
struments. What  a  farce  it  is !  A  grand  opera  pre- 
senting a  modern  girl  of  Paris,  in  a  modern  shirt- 
waist, yelling  common-place  remarks  to  the 
accompaniment  of  a  monster  band !  But  it  must 
change.  The  human  voice  will  come  into  its  own 
again,  when  the  over-excited  modern  mentality  shall 
have  calmed  itself  down  to  the  normal.  The  orches- 
tra will  shrink  to  its  diminutive  and  correct  position, 
as  a  mere  suggestor  of  the  harmony  which  supports 
the  voice,  and  the  emotions  of  life  will  find  their 
true  relief  in  accentuated  rhythm,  soothing  melody, 
and  noble  harmonies.  France  is  still  passing 
through,  and  she  certainly  will  not  come  out  of,  her 
transition  period  with  the  thing  she  is  now  trying 
to  call  "Music." 

French  pride  in  musical  accomplishment  is  well 
exhibited  in  the  aid  extended  to  this  culture  by  State 
activity.* 


*The  statistics  will  be  found  in  Appendix  E. 


CHAPTER  IX. 

United  States. 

It  is  a  matter  for  surprise  and  deep  regret  that 
the  United  States  Federal  Government  should  show 
a  lack  of  interest  in  musical  education.  But  our 
young  country  is  not  likely  to  remain  for  long  be- 
hind smaller  lands.  Our  hope  is  secure  in  the  funda- 
mental generosity  and  wisdom  of  our  national  mind, 
which  now  squanders  vast  sums  upon  musical  diver- 
sion, but  spends  nothing  at  all  for  the  free  musical 
education  of  its  gifted  citizens. 

We  have  in  this  country  a  strange  mixture  of 
races  and  of  ideals,  all  contributing  something  of 
Old  World  conditions,  and  combining  to  form  a  new 
type.  The  people  who  struggled  so  bravely  through 
the  Eighteenth  and  Nineteenth  centuries  were  of 
various  origins,  but  all  came  to  the  struggle  with 
tragedy  of  some  kind  or  other  implanted  in  their 
mental  composition.  Emotions  beat  the  pioneers 
into  their  one  refuge,  the  Church;  even  the  ballad, 
simple  as  it  was,  found  but  scant  room  where  the 
prayer  book  lay.  Pioneer  life  gave  little  ground 
for  complication  of  stimuli,  until  the  Nineteenth 
century  opened  the  gates  of  our  country  to  the  in- 

91 


92  MUSIC  AS  A  HUMAN  NEED 

dustrial  inventions,  and  to  the  discontent  of  foreign 
labor.  A  subdued  and  almost  religious  atmosphere 
stifled  emotions  during  the  first  half  of  the  Nine- 
teenth century,  but  the  waves  of  reform  sweeping 
over  Europe  found  their  way  even  here  by  1861, 
and  the  Great  Civil  War  would  have  stirred  us  to 
our  depths,  had  not  the  mighty  currents  of  feeling 
within  us  been  kept  in  subjection  by  our  Church 
habits.  The  few  valves  of  relief  permitted  to  our 
people  in  the  primitive  vaudeville  and  theatre  pro- 
ductions, were  not  sufficient  to  offset  the  irritation 
of  quickly  complicating  economic  stimuli.  At  this 
period  our  Immigrant  population  came  from  Eng- 
land, Ireland,  Scotland,  Wales,  Denmark,  Belgium, 
Germany,  Sweden,  Norway  and  Switzerland.  These 
Immigrants  generally  possessed  cool  heads,  and  were 
of  fine  stern  characters,  skilled  in  various  crafts,  and 
they  came  to  stay  permanently.  They  became  one 
with  our  people,  and  our  struggles  were  their 
struggles.  ItaHan  opera  and  the  higher  intellectual 
diversions  were  later  additions  to  the  pleasures  of 
the  rich,  but  the  masses  rarely  shared  in  such  amuse- 
ments, and  the  old-fashioned  ballads,  and  the 
splendidly  developed  hymnal  Music  furnished  our 
only  relief  for  emotional  disturbance.  Yet  this  was 
endurable  because  of  the  beautiful  hymnal  exercise, 
until  the  gold-fever  and  the  oil-madness,  united  with 
the  agitalton  of  the  Southern  States,  set  our  emo- 


UNITED  STATES  93 

tlonal  depths  to  new  movements,  and  the  cry  of  the 
laborer  for  liberty  and  of  the  manufacturer  for 
more  power,  added  fear  and  rage  to  our  every-day 
emotions.  The  rapid  rise  of  our  national  power, 
the  enormous  strides  in  public  education,  and  the 
incredible  multiplication  of  stimuli  upon  every  side, 
twisted  and  stretched  our  national  nerves  until  we 
now  see  ourselves  confronted  with  an  abnormal  type, 
which  must  soon  find  its  normal  calm  in  rhythmic 
pulse  action,  or  else  go  to  pieces  under  the  strain. 
Nowhere  have  we  any  outlet  or  re-establishing 
agency,  except  in  the  dance,  and  in  such  cheap  shows 
as  perm.it  of  but  a  partial  relief.  The  class  of  foreign 
labor  arriving  since  1883  is  from  the  south  of 
Europe,  illiterate,  fiery,  adding  another  element  of 
danger  to  our  tense  nationality,  and  still  our  blind 
government  has  not  opened  musical  safety  valves, 
for  the  steam  that  is  fast  rising  to  the  bursting  point. 
Our  musical  talent  is  of  the  finest  order,  but,  not 
having  any  governmental  aid  in  free  instruction,  is 
obliged  to  go  to  Europe,  there  to  learn  to  compound 
a  German,  French  or  Italian  medicine  for  an  Ameri- 
can disease,  when  our  peculiar  social  pressure 
demands  a  particular  American  remedy.  Private 
schools,  having  only  their  own  financial  gains  in 
mind,  are  farcical  agents  for  carrying  out  any  truly 
social  functions.  The  land  cries  out  for  its  own 
musical  culture,  as  strongly  in  rural  districts  as  in 


94  MUSIC  AS  A  HUMAN  NEED 

urban.  Cannot  the  government  see  that  musical 
employment  in  America  is  already  covering  a  vast 
field?  Scarcely  any  function  is  conducted  without 
Music.  Restaurants,  hotels,  clubs,  opera  houses, 
plays,  churches,  funerals,  weddings,  social  events, 
parades,  steamboat  service,  labor  union  meetings, 
support  hundreds  of  thousands  of  professioanl 
musicians.  Yet  practically  all  of  this  employment 
is  given  to  foreign-born  talent,  because  only  the  well- 
to-do  in  America  can  study  Music,  and  the  common 
people  who  may  possess  the  best  talent,  and  who  may 
both  love  it  and  need  it  the  most,  are  denied  this 
means  of  making  a  living,  while  municipal  govern- 
ments spend  useless  thousands  upon  concerts,  and  a 
few  park  bands  which  but  whet  the  public  appetite, 
while  our  rich  musical  talent  among  the  poor  lies 
dying  and  neglected.*  No  wonder  revolution  knocks 
at  the  door!  The  government  is  giving  the  eye- 
openers  in  its  free  educational  plan,  so  aiding  the 
disturbance  of  human  rhythm  by  sensational  news- 
papers, noisy  streets,  high  prices  and  too  quick  life, 
yet  closes  the  door  to  free  musical  instruction  which 
would  tranquillize  the  mind,  and  restore  equilibrium 
of  pulse.     The  churches  nail  down  the  natural  im- 


*The  value  of  the  musical  instruction  as  given  in  public 
schools  is  not  worth  consideration  beyond  its  diversion  aspect. 
The  singing  is  a  menace  to  correct  voice  placement  and  the 
remaining  exercises  are  insignificant. 


UNITED  STATES  95 

pulses,  and  society  frowns  upon  "new"  forms,  but 
nature  will  generate  her  energy  nevertheless,  and 
pent  up  in  the  human  system  it  will  boil  over  at  a 
certain  point. 

The  United  States  is  by  no  means  lacking  in  pros- 
perity, sufficient  for  the  maintenance  of  public 
musical  instruction  for  the  culture  of  a  wage  earning 
occupation.  Our  financial  reports  speak  for  them- 
selves. In  comparing  our  prosperity  and  our  neglect 
of  musical  culture  with  the  activities  along  this  line 
as  carried  on  by  other  countries,  great  and  small,  the 
following  letter  from  ex-President  Taft  may  be  of 
interest : 

The  White  House,  .  July  3rd,  1909. 

Washington. 
My  dear  Sir: — 

I  have  your  letter  and  I  do  not  think  it  possible 
to  secure  from  the  American  government  any  ap- 
propriation for  the  promotion  of  musical  schools. 
This  must  be  done  by  private  munificence  if  at  all. 

Sincerely  yours, 

WM.  H.  TAFT. 

America  is  mad  for  Music.  The  moving-picture 
shows'  are  saving  our  sanity  with  their  rhythmic 
combinations  of  light  and  sound  waves,  their  daily 
audiences  amounting  to  5,000,000  people  in  14,000 


96  MUSIC  AS  A  HUMAN  NEED 

picture  theaters,  and  4,000  subjects  annually  placed 
upon  the  American  market.*  By  this  means  we  re- 
tain our  rhythm,  but  the  higher  remedies  of  the 
orchestral  concert,  opera  and  chamber  Music  per- 
formances are  denied  the  people  who  have  no  wealth, 
while  the  hundreds  of  thousands  of  paying  positions 
in  the  bodies  which  compose  these  forces,  are  like- 
wise prohibited  to  our  native  talent,  because  there 
are  no  free  schools  in  which  such  talent  can  be  de- 
veloped. Only  the  well-to-do  may  study  Music  in 
the  United  States  and,  strangely  enough,  our  real 
talent  often  lies  not  in  this  class,  but  outside  of  this 
charmed  circle,  down  among  the  elements  of  our 
foreign-born  and  the  natives  of  foreign-born,  whose 
ancestral  nerves  have  been  fed  upon  nationally 
provided  musical  rhythm. 

United  States  gold  should  be  showered  over  the 
health-giving  and  joy-bestowing  field  of  National 
Music,  so  fondly  loved  by  the  people,  and  so  neces- 
sary to  mental  and  physical  relaxation  from  the 
maddening  strain  of  modern  life.  A  bright  star  will 
adorn  the  administration  of  the  first  President  to 
take  this  need  in  hand. 


*American  Industries,  January,  1913. 


APPENDIX  A. 

Questionnaire. 

The  exact  form  of  the  American  questionnaire 
employed  in  the  gathering  of  statistics  is  given  be- 
low. The  inquiries  sent  abroad  followed  the  same 
plan  and  had  the  same  scope,  but  were  couched  in 
somewhat  more  Indirect  and  formal  terms,  and  of 
course  each  separate  set  of  questions  was  sent  out 
In  the  language  of  the  country  to  whose  officials  it 
was  directed. 

For  a  statistical  work  I  need  some  official  informa- 
tion in  regard  to  the  following  queries: 

1.  How  much  does  the  American  Government  ex- 
pend annually  upon  public  conservatories  for  free 
tuition  of  pupils? 

2.  How  much  do  the  single  states  contribute  annually 
for  the  same  purpose? 

3.  Is  there  any  subvention  for  Grand  Opera  from 
the  American  Government  or  from  the  States? 

4.  Is  there  any  subvention  for  Orchestra  organiza- 
tions, or  for  Choral  Societies? 

5.  Are  there  any  prizes  granted  annually  from  the 
State  for  musical  achievements  to  composers, 
singers,  players? 

97 


98  MUSIC  AS  A  HUMAN  NEED 

6.  Are  there  any  endowments  from  the  American 
Government  or  from  the  States  to  enable  young 
gifted  musicians  to  complete  their  musical  educa- 
tion in  America  or  abroad? 


APPENDIX  B. 

Sources  of  Statistical  Material. 

The  sources  of  the  statistics  in  this  appendix  are 
indicated  in  the  first  table  below. 

Gladly  I  take  this  opportunity  again  to  express  my 
appreciation  of  the  invariable  courtesies  extended  in 
answer  to  my  inquiries.  Elsewhere*  will  be  found 
the  names  of  the  officials  whose  painstaking  and  often 
detailed  reports  made  it  possible  for  the  author  to 
convey  to  the  reader  a  picture  of  the  relative  sup- 
port given  to  music  by  the  governments  of  foreign 
states. 

Official  or  Institution              Communication 
Country                        Furnishing  Statistics  Dated 

Austria Imperial  Academy  of  Music  and Dec.   13,  1912 

the  Fine  Arts. 
Bavaria Minister    of    the    Interior    for. . .  Apr.  21,  1913 

Religion   and  Education. 

Belgium Minister  of  Arts   and  Sciences Feb.     4,1913 

Denmark Danish  Consul-General  in  New May    8,  1913 

York.  May  13,  1913 

Equador Quito  Conservatory  of  Music Aug.  31,  1913 

England National      Education      Board, Dec.  24,  1912 

Whitehall,  London,  England. 

France Paris    Conservatoire    Feb.      9.  I9I3 

Holland Minister  of  the  Interior Mar.  19,  1913 

Hungary Secretary  of  State,   Budapest Mar.  23,  1913 

Italy Minister   of   Instruction Mar.  10,  1913 


*See  pages  16-17. 

99 


lOO  MUSIC  AS  A  HUMAN  NEED 

Norway Royal    Inspector    of    Music    in.... Dec.  15,1912 

Christiania. 
Prussia Consul-General  of  the  United. . .  .Mar.  10,  191 3 

States  in  Berlin. 

Russia First  Secretary  to  the   Russian.  ..  .May  28,  1913 

Embassy,  Washington,  D.C. 

Saxony Minister  of  the  Interior Apr.     8,  1913 

Sweden Royal   Conservatory  of   Music,. ..  .Jan.     4,1913 

Stockholm. 
United  States. Chief     Clerk,     United     States Mar.  15,  1913 

Bureau  of  Education. 


APPENDIX  C. 

These  figures  are  merely  intended  to  give  an  idea 
of  foreign  activities  in  national  annual  support  of 
musical  culture.  Comparisons,  without  more  detailed 
statistics  would  be  misleading  and  unjust.  There- 
fore per  capita  calculations  have  been  purposely 
omitted. 

All  Military  Band  expenses  and  appropriations 
have  been  deducted  from  the  statistics  received. 
Saxony  and  Bavaria  as  mere  states,  do  not  belong  to 
above  list,  but  the  praiseworthy  achievements  of  Ba- 
varia are  shown  in  her  total  expenditures  of  703,030 
Marks  annually. 


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APPENDIX  D. 

Notes  on  Tabulation. 

The  foregoing  tabulation  may  be  considered  fairly 
representative,  because  the  relative  resources  of  each 
country,  and  the  relative  cost  of  sustaining  musical 
institutions  tend  to  equalize  the  sum  of  their  actual 
j|»enefits  to  the  people.     Bavarian  and  Austrian  insti- 
tutions charge  small  rates  for  instruction  to  native 
talent,  but  much  larger  sums  to  strangers.     France 
and  Belgium  charge  merely  entrance  fees  to  natives, 
but  strangers  pay  a  comfortable  sum,  and  must  pass 
a  difficult  examination.     The  letter  from  the  cele- 
brated violinist  and  teacher,  Ovid  Musin,  given  in 
Appendix  E,   shows  that  there   are  two   classes   of 
students,  native  students  who  pay  a  very  small  fee, 
and  foreign  paying  students.    The  letter  was  a  reply 
to  our  inquiry  as  to  tuition  fees  charged  by  French 
and   Belgian   musical   conservatories  under   govern- 
mental control.     Italy  also  charges  a  small  yearly 
sum  for  instruction  of  natives,  but  all  of  her  insti- 
tutions teach  exceptional  talent  free  of  charge,  if  in- 
ability to  pay  on  the  part  of  the  applicant  be  proved. 

Italy's    distribution    of    her    culture    in     Milan, 
Naples,  Palermo,  Parma,  Florence  and  Rome,  pre- 

103 


104  MUSIC  AS  A  HUMAN  NEED 

sents  an  area  most  creditable  to  her  governmental 
care  of  Music.  Considering  Italy's  position  in  the 
commercial  world,  her  figures  represent  a  high  pro- 
portion of  attention  to  musical  needs.  This  we 
would  naturally  expect  of  that  grand  old  Mediter- 
ranean race,  which  has  never  failed  in  all  of  its  won- 
drous history,  to  uphold  its  loftiest  ideals  despite  its 
calamities.  Her  musical  genius  has  always  found  na- 
tional protection.    Italy  has  thus  shown  her  wisdom. 

The  density  of  France's  population  brings  down 
her  per  capita  expenditure. 

The  difference  in  the  charges  to  native  students 
may  depend  upon  the  varying  cost  of  support  in 
different  countries.  For  instance  in  Vienna,  $40.00 
per  year  is  one  charge,  while  at  Brussells  the  charge 
to  natives  is  but  $1.00  per  year. 

Even  were  free  tuition  not  given,  the  govern- 
mental institutions  charging  for  instruction  would 
still  be  great  aids  to  the  advancement  of  musical  cul- 
ture in  their  respective  states,  as  the  small  sums 
charged  are  within  the  reach  of  those  who  can  have 
their  days  free  for  study.  How  far  would  $40.00  go 
in  musical  education  in  the  United  States?  In  Amer- 
ica, vocal  and  piano  teachers  charge  from  $2  to 
$5  per  lesson,  to  maintain  their  position  among  so- 
called  first  class  teachers.  Car  fares.  Music,  instru- 
ments, clothes,  tickets  for  concerts,  operas,  etc., 
would  exhaust  $40,00   in   a   month;   and  while   an 


NOTES  ON  TABULATION  105 

ambitious  brick-layer  could  easily  pay  $40.00  per 
year,  for  his  child's  musical  education  in  a  govern- 
mentally  supported  college,  $40.00  per  month  would 
represent  the  full  wages  of  two  of  his  girls,  working 
all  day  long  in  a  department  store.  "Free  Schools 
of  Music"  would  not  be  nearly  so  successful  as  "Na- 
tional Schools  of  Music,"  because  our  people  do  not 
like  anything  which  tends  to  divide  those  who  can 
pay,  from  those  who  cannot.  The  wise  among  our 
well-to-do  American  parents  now  send  their  children 
to  our  public  schools,  in  preference  to  private  acad- 
emies, knowing  well  the  superior  advantages  thus 
gained.  When  it  becomes  known  that  National 
Schools  of  Music  are  on  a  par  with  State  universities, 
offering  the  world's  best  instruction  and  the  very  best 
advantages,  then  graduation  from  such  institutions 
will  be  a  matter  of  pride  to  anyone,  rich  or  poor. 

The  Question  of  Fees. 

As  we  have  said,  the  small  sums  required  as  en- 
trance or  tuition  fees  by  some  of  the  musical  institu- 
tions under  governmental  support,  do  not  detract 
from  the  value  of  such  institutions;  but  it  would 
scarcely  be  just  to  place  all  of  the  conservatories  so 
conditioned,  upon  a  par  of  public  spiritedness  with 
those  which  take  no  fees  whatsoever  for  tuition  of 
native  pupils,  unless  some  superiority  of  educational 
advantages  in  the  former  tend  to  equalize  their  bene- 


io6  MUSIC  AS  A  HUMAN  NEED 

fits.  It  is  impracticable  to  judge  of  the  merits  of 
each  institution,  and  such  a  critical  examination  is  not 
the  purpose  of  this  work;  but  mention  of  the  systems 
employed  by  a  few  countries  showing  special  care  of 
national  musical  culture,  may  not  be  out  of  place 
here.  Belgium  has  produced  much  of  the  world's 
genius,  giving  us  from  her  conservatory  at  Liege 
alone,  such  splendid  artists  as  Martin  Marsick,  Ovid 
Musin,  Ysaye,  Cesar  Thomson  and  Remy.  I^Iege 
charges  no  fees  to  native  talent.  In  his  reply*  to  our 
request  for  information  concerning  fees  in  the 
French,  Belgian  and  Holland  conservatories,  Ovid 
Musin  attributes  the  marked  artistic  results  of  the 
Belgium  conservatories  to  the  fact  that  the  remunera- 
tion of  the  professors  is  such  as  to  enable  them  to  de- 
vote their  entire  time  to  their  conservatory  pupils; 
foreigners  pay  200  francs  a  year,  but  native  students 
receive  free  tuition. 

In  response  to  a  similar  request  concerning  fees  in 
Italian  governmental  schools  of  Music,  Signor  Gatti- 
Casazza,  director  of  the  Metropolitan  Opera  House 
of  New  York,  replied  that  there  were  both  free  and 
paying  pupils. 

The  question  of  fees  in  all  government  schools  of 
Music,  would  involve  an  exhaustive  research  Into  the 
ideals  behind  the  founding  of  each  such  school,  and 


*The  communication  will  be  found  in  Appendix  E. 


NOTES  ON  TABULATION  107 

into  the  resources  upon  which  their  maintenance  de- 
pends. Undoubtedly,  the  highest  ideal  in  such  under- 
takings is  that  which  animates  the  Belgian  system, 
and  insures  its  wonderful  success.  A  close  study  of 
Belgium's  management  of  her  conservatories  would 
be  surely  illuminating  and  inspiring  to  our  own  coun- 
try. This  little  country  is  to  be  congratulated,  as  the 
holder  of  the  musical  laurels  of  both  the  past  and 
the  present  in  national  support  of  native  talent.  Her 
efforts  are  signs  of  the  live  musical  genius  of  Bel- 
gium, and  show  great  state  care  of  musical  culture. 
Belgium  has  always  been  a  leader  in  musical  culture, 
and  the  world  owes  her  a  debt  of  gratitude  for  her 
products  of  genius,  only  to  be  fully  appreciated  when 
the  present  abnormal  stage  shall  have  passed,  and 
the  saner  musical  school  be  once  more  established. 

America  owes  much  of  her  rarest  pleasure  to  the 
varied  genius  presented  in  Russian  Music.  May  the 
lesson  of  Russia's  governmental  care  for  her  sub- 
jects' need  of  Music  not  be  lost,  in  the  prosperity  of 
our  too  commercialized  United  States  of  America. 

Were  it  not  for  the  excellent  total  of  the  Bavarian 
expenditures  for  public  education  in  Music,  Germany 
as  a  whole  would  present  a  very  poor  figure,  for  Sax- 
ony stands  low,  and  the  Prussian  statistics  were  "un- 
available."* Saxony,  with  the  wonderful  musical 
output,  which  so  delights  the  musical  world  is  evi- 


*See  page  127. 


lo8  MUSIC  AS  A  HUMAN  NEED 

dently  In  the  hands  of  private  business,  in  which  gov- 
ernmental protection  and  state  cultivation  of  Saxon 
talent  as  yet  play  but  a  small  role.  This  is  surprising, 
considering  the  examples  around  Saxony,  but  her 
resources  and  history  must  be  taken  into  account  in 
the  judgment  of  her  generosity. 

Norway's  population  is  scarcely  equal  in  number 
to  that  of  one  of  our  medium  sized  American  cities; 
hence  her  figures  represent  a  true  love  and  care  for 
Music,  and  the  products  of  her  musical  genius  fully 
justify  the  support  accorded.  She  holds  her  own  in 
musical  protection. 

Denmark  has  enriched  our  American  life  with  the 
strong  free  blood  of  the  North,  and  her  Music,  with 
its  sweet  sadness,  has  left  its  impress  upon  American 
musical  culture. 

The  Music-loving,  and  Music-needing  Austrians 
w^ill  find  the  reason  of  their  care  of  national  rhythm  in 
the  sorrows  of  their  history,  for  no  other  countries 
have  suffered  from  the  double  t}Tanny  of  war  and  re- 
ligion as  have  Austria  and  Hungary,  whose  emotions 
have  been  the  harp  upon  which  other  powers  have 
played  continuously.  Austria's  position  has  not 
seemed  sufliciently  stable  in  history  to  include  it  as  a 
leading  power  separate  from  German  influence,  and 
though  it  is  so  closely  allied  to  Italy  in  temperament, 
its  language  and  customs  are  German  and  its  recent 
history  is  closely  analogous  to  that  of  Germany.    Yet 


NOTES  ON  TABULATION  109 

Austria's  gov^ernment  is  devoted  to  the  musical  inter- 
ests of  its  gifted  subjects.  This  musical  race  has 
produced  some  of  the  noblest  talent,  for  her  past 
sorrows  and  responsive  temperament  needed  Music 
in  a  marked  degree.  Austria,  standing  so  high  among 
the  large  states  in  musical  culture,  is  to  be  congratu- 
lated for  her  brilliant  example.  Austria's  figures  as 
they  stand,  and  without  taking  into  consideration  the 
size  of  her  population,  would  have  placed  her  in  the 
lead. 

Swedish  musical  talent  had  taught  us  to  expect 
much  from  Sweden,  and  we  are  justified  in  this  faith. 
The  showing  made  by  Sweden  in  a  graph  of  State 
care  of  musical  culture,  will  find  its  cause  likewise  in 
Its  history,  for  Sweden's  emotions  have  not  been  left 
to  harden  for  lack  of  use,  and  her  acute  sufferings 
have  been  manifested  in  a  fineness  of  musical  talent, 
and  in  a  love  for  the  noble  in  Music,  equal  to  the  pro- 
gressiveness  of  her  national  mind.  In  comparative 
peace  for  90  years,  soothed  by  her  "rhythm-giving" 
Music,  who  shall  determine  the  result  of  that  noble 
tranquillity,  which  has  been  aided  by  her  parental 
care  of  the  musical  needs  of  her  people?  Sweden 
sets  a  splendid  example  for  the  United  States,  since 
despite  a  comparative  lack  of  wealth,  cold  climate 
and  seeming  cheerlessness  of  environment,  she  never- 
theless nourishes  the  lovely  flower  of  national  Music. 
This  shows  a  progressiveness  and  care  doubly  com- 


no  MUSIC  AS  A  HUMAN  NEED 

mendable,  when  one  considers  in  addition  to  the 
above  mentioned  fact,  the  smallness  of  both  her  pop- 
ulation and  her  resources  as  compared  with  other 
countries. 

The  work  of  the  Conservatory  of  Quito,  Repub- 
lic of  Equador,  deserves  high  praise  for  the  com- 
pleteness of  its  outfit  and  evident  success.  It  is  re- 
freshing indeed  to  feel  that  Music  holds  so  large  a 
share  of  public  attention  in  this  brave  little  Republic 
of  the  south.  The  study  of  her  musical  statistics  in 
Appendix  C  suggests  very  strongly  that  the  Latin 
races  may  have  found  in  their  Music,  an  antidote  for 
the  chilling  commercialism  of  modern  civilization. 

Holland,  from  whom  we  expected  little  in  govern- 
mental support  of  Music,  presents  a  very  good  stand- 
ing. We  Americans,  who  are  proud  that  Dutch 
blood  flows  in  our  veins,  could  not  do  better  than  to 
take  this  small  nation  as  an  example  in  national  duty. 
She  shows  a  praise-worthy  care  for  national  musical 
culture.  It  is  with  pride  in  the  showing  made  by  this 
distinguished  little  state  that  we  call  attention  to  her 
national  culture  of  music. 

Hungary  deserves  high  praise  for  the  care  of  her 
musical  talent  as  represented  in  her  statistics.  Hun- 
garian composition  has  ever  possessed  a  special  charm 
for  Americans.  Much  may  be  expected  of  a  nation 
which  so  cares  for  the  musical  need  of  its  humblest 
members  as  to  support  a  symphony  orchestra  for  the 


NOTES  ON  TABULATION  1 1 1 

purpose  of  giving  concerts  for  young  workmen  in 
provincial  towns,  and  for  the  propagation  of  artistic 
music  and  culture. 


APPENDIX  E. 

Communications. 

These  letters  are  presented  in  condensed  form  for 
convenience. 

January  2,   1914. 

Tuition  for  strangers  in  European  conservatories 
is  two  hundred  francs.  Entrance  is  dependent  upon 
the  proved  musical  ability,  before  an  examination 
committee,  of  the  student  to  do  serious  work,  since 
the  number  of  students  in  each  class  is  limited  to  ten. 
Native  students  pay  only  five  francs. 

Ovid  Musin. 


"The  French  and  Belgian  National  and  Royal 
Conservatories  are  not  only  supported,  but  were 
founded  and  are  managed  by  their  governments 
under  their  National  and  Royal  Commissioners  for 
the  cultivation  of  the  Art  of  Music,  for  the  Art's 
sake.  Instruction  is  without  cost  to  natives,  but  for- 
eigners are  taxed  two  hundred  francs  per  year.  This 
money  goes  to  the  government,  not  to  the  professors. 
The  only  conservatory  in  France  which  is  sup- 
ported by  the  government  is  the  "Conservatoire  na- 

1 12 


COMMUNICATIONS  113 

tional"  of  Paris.  The  Royal  conservatories  of  Hol- 
land and  Belgium  are  unique,  and  entirely  different  In 

scheme  from  those  in  any  other  country The 

difference  between  the  government  music  schools  of 
France  and  Belgium  lies  in  the  fact  that  the  remun- 
eration of  the  Director,  professors  and  other  officers 
is  sufficient  in  the  case  of  Belgium  to  enable  these 
'functionaries'  of  the  government  to  devote  their 
time  exclusively  to  their  office.  In  fact,  the  profes- 
sors are  on  the  same  plane  as  those  of  the  Univer- 
sities, whereas  in  France  the  remuneration  is  quite 
small,  and  the  professors  of  this  National  Conserva- 
tory do  not  rely  upon  their  salaries  in  order  to  live, 
as  in  Belgium,  and  for  that  reason  the  artistic  re- 
sults of  the  Paris  Conservatory  cannot  be  compared 
to  the  conservatories  of  Belgium." 

Mrs.  Ovid  Musin. 


"I  believe  that  at  the  Conservatory  of  Milan  there 
are  two  classes  of  pupils.  One  is  admitted  to  the 
courses  in  a  fixed  number,  free  of  charge,  the  other 
by  payment." 

Gatti-Casazza, 

Director  of  the  Metropolitan  Opera  House 
of  New  York. 


114 


MUSIC  AS  A  HUMAN  NEED 


AUSTRIA. 

Vienna,  December  13,  19 12. 

Enclosed  please  find  the  governmental  report  and 
statistics  for  19 13  showing  Austria's  appropriation 
for  music. 

William  Bopp, 

Director   of  the  Imperial  and  Royal 
Academy  of  Music  and  Plastic  Arts. 


Crowns 

State  Conservatories,  annually   699,026 

Subventions  to  private  musical  schools 332,208 

Subventions  to  orchestra,  chorus,  and  other  musical 

societies    135)850 

Prizes  for  Composers 7,000 

For  other  musicians   17,000 

State  competitions  for  composers  3,000 

Other  expenses  for  music   1 14,000 

Music  Instruction  in  Public  Schools   302,000 

Singing  Instruction  in  the  Public  Schools 120,000 

Extraordinary  expenses  in  the  years   1911-1913   for 
the  new  building  of  the  Royal  and  Imperial 

Academy  of  Music   2,000,000 

Total    3,730,084 


COMMUNICATIONS  115 

BAVARIA. 

Munich,  April  21st,  19 13. 

Royal  Minister  of  State, 

Interior  and 

Education  in  Bavaria. 

Concerning  Music  Expenditures  in  Bavaria. 

In  Bavaria  there  are  two  Music  Institutions  which 
are  directed  and  supported  by  the  State.  So  far  their 
income  is  not  sufficient  to  cover  expenses.  These 
institutions  are  the  Royal  Academy  of  Music  In 
Munich  and  the  Royal  Conservatory  of  Music  in 
Wuerzburg. 

The  contribution  of  the  State  for  the  year's  bud- 
gets 19 1 2-19 13  is,  yearly: 

Marks 

For  the  Royal  Academy  of  Music  In  Munich 67,370 

For  the  Royal  Conservatory  in  Wuerzburg 72,660 

The  expenditures  for  Music  Instruction  in  Schools 
of  the  State  are  yearly: 

For  the  Humanistic  Gymnasiums  and  Real  Gym- 
nasiums           157,000 

For  the   Progymnasiums,   Latin  Schools,   High   Real 

Schools   and  Real  Schools    120,000 

For  the  Teacher  Institutes  (for  both  sexes) 286,000 

703.030 


Ii6  MUSIC  AS  A  HUMAN  NEED 

The  State  does  not  contribute  any  sum  for  expen- 
ditures in  the  Royal  Theatres  in  Munich. 

Also  there  is  no  endowment  from  the  state  for 
scholarships.  There  are  special  private  endowments 
for  this  purpose. 

Steiner. 


COMMUNICATIONS 


117 


BELGIUM. 

Brussells,  February  4th,  1913. 
Ministry  of  Arts  and  Sciences. 

Fine  Arts  Office.    Section  No.  31042. 

The  four  Conservatories  are  State  Institutions 
and  the  funds  are  contributed  from  the  State,  the 
Province  and  the  cities. 

The  subvention  from  the  State  is  as  follows: 

Francs 

Conservatori'um  in  Bruxelles   190,500 

"    Liege    104,835 

"    Gand    66,750 

"    Anvers     65,190 

Annual  subvention  for  Music  schools 130,000 

Annual  subvention  for  symphonic  and  choral  organiza- 
tions       28,800 

Subventions    to    gifted    composers,    singers,    players 

subject  to  change)  last  year 20,000 

(Concours  de  Rome)  Annual  scholarship  award....  4,000 

Bureau  of  Studies 14,200 

Subvention  to  composers  who  represent  their  Opera 

in  a  Belgium  Theatre,  annually 6,000 

Subvention  for  the  publication  of  old   Belgian  com- 
posers,  annually   1 1,000 

Total  of  annual  State  subvention 641,275 

M.  Phillis. 


Il8  MUSIC  AS  A  HUMAN  NEED 


DENMARK. 

Consulate  of  Denmark. 

8-10  Bridge  St. 

JNR.  A.F.  &  I.  9/13. 

New  York,  May  8,  1913.* 

My  Dear  Sir: — 

In  further  reference  to  your  letter  of  March  19,  I 
beg  to  inform  you  that  the  sum  of  10,000  Kroner 
has  been  granted  to  the  Royal  Music  Conservatory 
and  of  1,000  Kroner  to  the  so-called  "Palace  Con- 
certs," besides  this,  various  small  amounts  have  been 
given  to  singers  and  musicians  to  enable  them  to  gain 
further  experience  abroad. 

Hoping  that  this  information  will  be  of  asistance, 
I  am, 

Yours  very  truly, 

J.  Clan, 

Consul-Gcneral. 

♦Another  letter  dated  May  13,  1913.  adds  "9,600  Kroner 
to  the  dii?erent  concert  associations,"  bringing  Denmark's  an- 
nual expenditure  for  musical  education  up  to  a  total  of  20,600 
Kroner. 


COMMUNICATIONS  119 


ENGLAND. 


Telegrammes : — 
Renseigne,  London. 


Board  of  Education. 

Whitehall^  London,  S.  W. 

December  24th,  19 12. 

No  part  of  the  grant  paid  by  the  Board  of  Educa- 
tion to  schools,  or  other  educational  institutions 
where  music  is  taught  is  ear-marked  for  the  instruc- 
tion of  music. 

An  annual  grant  of  £500  each  is  made  by  the  State 
to  the  Royal  Academy  of  Music  and  the  Royal  Col- 
lege of  Music.  A  similar  grant  of  £300  per  annum 
is  made  to  the  Royal  Irish  Academy  of  Music. 

The  Army  Estimates  for  the  financial  year  19 12- 
19 13  include  sums  of  £21,700  in  aid  of  band  ex- 
penses in  the  Regular  Army  and  £3,300  in  aid  of  the 
Army  School  of  Music.  Singing  and  music  are 
taught  in  some  establishments  for  military  education, 
but  the  expenditures  in  these  subjects  can  not  be  sepa- 
rated from  the  rest  of  the  expenditures. 

There  is  no  State  subvention  of  opera. 
Yours  faithfully, 

A.  W.  TWENLYMAN. 


I20  MUSIC  AS  A  HUMAN  NEED 

This    presents    English    musical    expenditures    as 
follows : 

Annual  Grants  by  State  to: — 

Pounds 

Royal  Academy  of  Music 500 

Royal  College  of  Music 500 

Irish  Academy  of  Music 300 

Army  Band  expenses  in  Regular  Army 21,700 

Schools  of  Music   3,300 


Total     26,300 


COMMUNICATIONS  121 


EQUADOR. 

August  31st,  1 9 13. 

The  National  Conservatory  of  Music  was  founded 
April  26th,  1900,  by  Executive- Judicial  Decree. 
Initial  Government  Subventions. 

1900  Sucres 

Installation  Funds   2,000.00 

Salaries    12,000.00 

Musical  Instruments  and  Music 3,510.30 

1903-5. 

Musical  Instruments  and  Music   35,000.00 

Maintenance     58,780.00 

Annual  Government  Subventions  since  1905. 

Sucres 

1906  23,000 

1907  23,000 

1908 22,000 

1909 25,380 

1910 27,540 

1911   31,500 

1912  28,500 

1913   28,500 

The  first  year's  class,  1900,  numbered  ninety-three 
men  and  thirty-one  women.  The  class  of  19 13,  in- 
cluded two  hundred  and  twenty-six  men  and  two 
hundred  and  thirteen  women. 


The  Directors 


> 


National  Conservatory   of  Music, 
Quito,  Equador. 


122 


MUSIC  AS  A  HUMAN  NEED 


FRANCE. 


February  9,  19 13. 

Here  are  all  the  official  statistics — obtained  this 
very  morning. 

I.  Philipp, 

Professor,    Paris    Conservatory. 

Francs 

Music  Inspectors,  annually   14,200 

Travelling   expenses    3,ooo 

French  Academy  in  Rome,  one-fifth  of  total 29,195 

National  Conservatory:     Professors    197,300 

Material    4i,350 

Indemnities 41.223 

Branch    Institutes    156,500 

National  Theatres,  Subventions   1,225,000 

Music  Library  of  the  Opera  House 6,000 

Popular    Concerts    I33.500 

Subventions  to  Musical  Societies 7)100 

Palace  of  the  Trocadero,  for  the  Music  Hall i3>ooo 

Subventions  to  musicians    103,750 

Total  annually 1,971,118 


COMMUNICATIONS 


123 


HOLLAND. 

Ministry  of  the  Interior,  No.  733. 

Afdeeling  K.  W.  Ministerie  Van 
Binnenlandsche  Zaken  Gravenhage, 

March  19,  1913. 

Florins 

1.  Subsidizing  of  Conservatories   27,000 

2.  Subsidies  for  poor,  joung,  gifted  musicians  of  both 

sexes,  as  help  in  their  studies 5,000 

3.  For  military  bands    186,000 

Th.  Heemskerk, 

Minister  of  the  Interior  and 
Secretary-General  of  Holland. 


124  MUSIC  AS  A  HUMAN  NEED 


NORWAY. 

Christiania,  Dec.  15,  1912. 

Our  theatres  have  no  governmental  subsidy. 
Music  in  the  pubHc  schools  is  a  local  not  a  federal 
matter. 

We  have  no  conservatories  of  the  usual  European 
type  but  there  are  smaller  music  schools  and  schools 
for  organists  which  are  in  part  subventioned  by  the 
State. 

What  the  State  spends  for  purposes  of  music  can 
be  described  as  follows: 

Crowns 

Military   Music   annually    i6o,000 

Subvention  to  composers   5,200 

Subvention  to  other  musicians  6,000 

Music  schools   4,500 

Total,  annually   175,700 

Most  respectfully, 

Ole  Oleson, 

Army   Inspector   of  Music. 


COMMUNICATIONS  125 


ITALY. 

Rome,  February  14,  19 13. 
Ministry  of  Instruction. 

General  Office 

OF  THE  Director 

OF  Antiquities  &  Fine  Arts. 

Posiz.  21  aff.  gen. 
N.  di. 

Prot.  339.    Subject:  Statistical  Inquiry. 

The  Italian  Government  appropriates  440,500 
Lire  for  professional  salaries  and  146,400  Lire  for 
administration  expenses  in  connection  with  the  five 
national  conservatories  of  music  among  which  the 
former  amount  is  apportioned  as  follows: 


L 


ire 


Milan  Conservatory  of  Music   102,000 

Naples             "             "        "       107,000 

Palermo           "              "         "       80,000 

Parma             "             "        "       71,500 

Florence  Musical  Institute 80,000 

There  is  an  additional  appropriation  approxi- 
mately 30,000  Lire  for  extraordinary  or  temporary 
compensation  to  the  personnel  of  these  various 
schools. 


126  MUSIC  AS  A  HUMAN  NEED 

Instruments,  etc 131,440 

Annual  Government  Subvention  to  the  City  Conserva- 
tory of  Music  at  Rome 101,000 

Annual  subvention  to  pupils 2,000 

(LuiGi)   Credaro, 

Minister   of  Public  Instruction. 


COMMUNICATIONS  127 


PRUSSIA. 

American  Consulate  General, 
Berlin,  Germany. 

March  10,  1913. 

I  acknowledge  receipt  of  your  letter  of  February 
9,  19 13,  relative  to  expenditures  of  the  Prussian 
Government  for  the  benefit  of  musical  art. 

I  am  informed  by  the  Prussian  Statistical  Bureau 
that  no  definite  figures  are  available  as  to  expendi- 
tures in  this  branch  of  education.  The  Prussian 
Minister  of  Education  has  also  been  unable  to  in- 
form me  of  the  amount  utilized  in  this  particular 
branch.  He  adds  that  the  amourrt  so  expended 
varies  from  year  to  year. 

Aside  from  the  Prussian  Government  various 
municipalities  within  the  Kingdom  occasionally  make 
money  grants  for  the  encouragement  of  musical 
students.  Last  year,  for  example,  the  City  of  Ber- 
lin voted  Marks  60,000  ($14,280.)  in  order  that 
the  Philharmonic  Orchestra  might  be  retained  in  the 
city  during  the  summer  months  instead  of  visiting 
sea  shore  and  other  resorts.  In  consideration  of  this 
subsidy,  the  orchestra  played  popular  concerts  at  cer- 
tain large  halls  at  a  nominal  rate  of  admission. 


128  MUSIC  AS  A  HUMAN  NEED 

The  German  Emperor  in  his  private  capacity  Is 
a  liberal  contributor  to  musical  art.  He  makes 
money  grants  annually  for  the  support  of  the  Royal 
Opera  in  Berlin,  the  amount  varying  with  each  year's 
needs.  The  amount  of  this  contribution  is  not  made 
public. 

The  foregoing  is  the  most  definite  information 
obtainable  on  this  subject.  I  hope  it  may  be  of  some 
service  to  you. 

Very  respectfully  yours, 

M.  Thackara, 

American  Consul  General. 


COMMUNICATIONS  129 


HUNGARY. 

The  following  list  of  governmental  institutions  for 
musical  culture  in  Hungary  were  kindly  submitted  by 
Dr.  Paul  Majouszky,  Chief  of  the  Fine-Art  Section, 
and  Naray-Szabo,  State  Secretary. 

Crowns 
The  Musical  Academy  of  Budapest  receives  a  yearly 

sum  of  (from  Budget  of  1913)   385,233 

School  Fees  amount  to   54>440 

Yearly  subventions  to  Music  Schools  maintained  by 

provincial  towns  and  associations 56,000 

Assistance  to  musicians,  especially  to  composers  for 
studies  in  foreign  countries  and  for  publishing 

musical  compositions   8,000 

For  general  musical  aims,  orchestras,  concert  sub- 
ventions of  musical  works  122,000 

For  maintenance  of  Philharmonic  Society  formed  by 
members  of  the  Royal  Hungarian  Opera,  and 
the  Symphonic  Orchestra  founded  by  the  State 
in  order  to  give  concerts  for  the  young  work- 
men in  provincial  towns 120,000 

For  the  maintenance  of  the  Royal  Opera  Orchestra 

and  the  payment  of  its  Director 343>500 

For  the  Choral  Society  of  the  Budapest  Royal  Hun- 
garian University  'JOO 

For  the  Choral  Society  of  the  Joseph  Polytechnical 

High  School   1,000 

And  for  its  Orchestra 1,500 

Toward  salaries  of  Music  Teachers  in  schools....  88,100 

For  Military  Music  Bands  76,000 

1,202,033 


I30  MUSIC  AS  A  HUMAN  NEED 

RUSSIA. 

Imperial  Russian  Embassy. 

Washington,  D.  C. 

Washington,  May  28,  19 13. 
No,   193. 

The  exact  sum  spent  annually  in  subventions  to 
music  by  the  Imperial  Ministry  of  the  Interior  is 
139,900  Roubles  per  annum. 

Alexander  Lyssakovsky. 

First  Secretary  of  the  Embassy. 


COMMUNICATIONS  131 


SAXONY. 

Dresden,  April  8th,  1913. 

Koniglich-Sachsisches 
Ministerium  des  Innern. 

No.  627  III.  F. 

There  are  no  State  Conservatories  or  State  Schools 
for  musical  education  in  Saxony. 

The  institutions  for  musical  education  under  con- 
trol of  the  ministerial  department  are  various  private 
undertakings. 

For  artistic  development  in  music  the  undersigned 
Ministry  allows  5,000  marks  a  year.  This  support 
is  for  part  or  whole  tuition  for  unusually  gifted  and 
studious  men  and  women  students  who  belong  in 
Saxony. 

(Graf)  ViTzTHUM  von  Eckstaedt, 

Royal  Minister  of  the  Interior,  Saxony. 


132 


MUSIC  AS  A  HUMAN  NEED 


SWEDEN. 
Royal  Conservatory  of  Music. 

Stockholm,  January  4th,  19 13. 

The  yearly  subventions  of  the  Swedish  Govern- 
ment for  music  according  to  the  latest  available 
sources: 

Croiuns 
Annual  subvention  from  the  State  for  the  Royal 
Academy   of    Music   and   the    Royal    Con- 
servatory       85,649.67 

Subvention  to  the  Royal  Opera  House 60,000.00 

Subventions  to  Swedish  Composers 15,000.00 

Musical  Instruction  in  public  schools 124,367.50 

Military   orchestras    1,027,424.10 

Two  orchestras 28,000.00 

Total  of  annual  subvention   1,340,441.27 

Br.  Beckman. 


COMMUNICATIONS  133 


UNITED  STATES. 

^  Department  of  the  Interior, 

Bureau  of  Education, 
Washington,  D.  C,  March  5,  1913. 

1.  The  American  government  does  not  make  any 
appropriation  whatsoever  for  the  Instruction  of 
pupils  in  pubhc  conservatories. 

2.  So  far  as  known  to  this  office,  none  of  the  states 
contribute  sums  for  the  same  purpose. 

3.  The  American  government  does  not  make  any 
subvention  for  grand  opera.  In  so  far  as  this  Bureau 
has  been  able  to  obtain  information,  no  such  sub- 
vention is  made  by  any  state. 

4.  So  far  as  known  to  this  Bureau,  there  is  no 
subvention  ifor  orchestra  organizations  or  choral 
societies. 

5.  So  far  as  known  to  this  Bureau  there  are  no 
prizes  granted  by  the  State  for  musical  achievements 
to  composers,  singers  or  players. 

6.  There  is  no  endowment  by  the  federal  govern- 
ment to  enable  young  gifted  musicians  to  complete 
their  musical  education  in  America  or  abroad. 

I  may  say  that  instruction  in  music  is  given  in 
some  of  the  Indian  schools  maintained  by  the  federal 


134  MUSIC  AS  A  HUMAN  NEED 


government  and  such  schools  also  have  musical  or- 
ganizations. No  specific  appropriation  for  instruc- 
tion in  music,  however,  is  made  by  the  federal 
government.  This  statement  applies  also  to  state- 
aided  institutions. 

Respectfully, 

T.  A.  Kalbach, 

Chief  Clerk. 


COMMUNICATIONS  135 


HUNGARY. 

Royal  Hungarian  Ministry 

OF  Public  Worship  and  Education 

Budapest 

N.  13577 

Translation. 

I  have  the  honour  to  give  you  the  information 
you  asked  in  your  letter  from  the   nth  January, 
19 13.     There  is  only  one  musical  school,  a  high- 
school,  of  the  state  in  Hungary:  the  Music  Academy 
in  Budapest.     The  budget  of  the  present  year  pro- 
vides the  sum  of  385.233  crowns  for  the  mainten- 
ance of  that  institute.     After  deducting  the  school 
fees  of  54.440  cr.  the  state  has  to  spend  yearly  333.- 
793  cr.     The  state  gives  also  to  the  music  schools 
maintained  by  provincial  towns  and  associations  a 
yearly  subvention  of  56.000   cr.  that  is  increasing 
from  year   to  year.     To  the  purpose   of  assisting 
musicians,   especially  composers  to   make  studies  in 
foreign  countries,   and  of  publishing  musical  com- 
positions and  a  collection  of  popular  songs,  the  bud- 
get provides  8,000  cr.     For  general  musical  aims, 
(orchestras,  concerts,  subventions  of  musical  works, 
etc.)    122.000  cr.  are  destined,  specially  120.000  cr. 
to    the    maintenance    of    the    philharmonic    society 
formed  by  members  of  the  Royal  Hung.  Opera  and 


136  MUSIC  AS  A  HUMAN  NEED 

the  Symphony  Orchestra  founded  by  the  state  in 
order  to  give  concerts  for  the  young  workmen,  etc. 
in  provincial  towns  and  to  the  propagation  of  artistic 
music  and  culture.  The  maintenance  of  the  Royal 
Opera  Orchestra  and  the  payment  of  its  dirigent  re- 
quire 343.500  cr.  The  capital  Budapest  maintains 
a  course  of  music,  and  number  of  provincial  towns 
maintain  music  schools  and  orchestras  without  any 
assistance  of  the  state.  As  for  the  costs  of  military 
bands  I  shall  have  the  honour  to  give  you  subse- 
quently the  necessary  information. 
Budapest,  the  23d  March  1913. 

For  the  minister: 

(Signed)  Naray-Szabo, 

State  Secretary. 


Royal  Hungarian  Ministry 

OF  Public  Worship  and  Education 

Budapest 

N.  124655 

I  have  the  honour  to  give  you  the  supplementary 
information  I  promised,  when  answering  (N.  13577, 
1 2th  April)  your  letter  from  the  i  ith  January.  The 
Hungarian  State  at  present  gives  an  annual  subsidy 
of  700  crowns  to  the  choral  society  of  Budapest 
Royal   Hungarian   University,    1000  crowns   to  the 


COMMUNICATIONS  137 

choral  society  and  1500  to  the  orchestra  of  the 
Joseph  Olytechnical  High  School.  In  the  middle 
schools  (Colleges  and  Real  Schools)  the  musical 
teaching  is  not  yet  perfectly  organized,  the  fees  for 
the  courses  are  paid  by  the  pupils,  the  state  contri- 
butes to  the  salaries  of  music  teachers.  The  annual 
costs  of  the  said  teaching  amount  (including  a  sal- 
ary of  6400  cr.  for  the  inspector)  in  girl  schools 
to  74,500,  In  medico-pedagogical  Institutes  to  13,600 
cr.,  those  for  the  maintenance  of  military  music-bands 
in  the  regular  army  76,400  crowns. 

Budapest,  the  24th  July,  19 13. 

By  order  of  the  Minister, 

(Signed)  Dr.  Paul  Majowzky, 

Chief  of  the  Fine-Art  Section. 


APPENDIX  F. 

Bibliography. 

American  History  and  Encyclopedia  of  Music^  The.: 

Irving  Square,  New  York. 
Bailey,  L.  H,: 

Country  Life  Movement,   1911,   MacMillan  Co. 
Bryce,  James: 

The  American   Commonwealth,   1911,   MacMillan   Co. 
BuLFiNCH,  Thomas: 

Age  of   Fables,   John   D.   Morris  &  Co.,   No.    122   of 
Edition  de  Luxe. 
Caes-vr.  Julius: 

De  Bello  Gallico. 
Carhart,  H.  S.: 

University  Physics,  Part  I,  Allan  &  Bacon,  Boston. 
Darwin,  Charles: 

Descent  of  Man,  1909,  Appleton  &  Co.,  Second  Edition. 
^^  DeFursac,  J.  Rogues: 

/  Manual  of  Psychiatry,  1908,  John  Wiley  &  Sons,  New 

York. 
Dickinson,  Edward: 

The  Study  of  the  History  of  Music,  1912,  Chas.  Scrib- 
ner's  Sons,  New  York. 
Ellis,  Havelock: 

Studies  in  the  Psychology  of  Sex,  1906,  F.  R.  Davis  Co., 
Philadelphia. 
Ellis  and  Horne: 

The  Story  of  the  Greatest  Nations,  Niglutsch. 
V,  Galton  : 

Hereditary  Genius  and  English  Men  of  Science. 
GiBBiNS,  H.  de  B.: 

Industry  in  England,  1907,  Charles  Scribner's  Sons,  New 
York. 
Gibbons,  Ed.: 

Roman  Empire,  Hurst  &  Co.,  New  York. 

138 


BIBLIOGRAPHY  139 

GiDDINGS: 

Democracy  and  Empire,  19 12,  MacMillan  Co. 
Principles  of  Sociology,  191 1,  MacMillan  Co. 
Descriptive  and  Historical  Sociology,   1909,  MacMillan 

Co. 
Inductive  Sociology,  1909,  MacMillan  Co. 
Elements  of  Sociology,  1898,  MacMillan  Co. 
"Sociology,"  a  lecture  published  in  1908  by  the  Colum- 
bia Press. 
Grote^  George: 

Greece,  Peter  Fenelon  Collier  &  Son,  New  York. 

GuMMERE,  Francis  B.: 

Germanic   Origins,    1892,    Chas.    Scribner's   Sons,    New 
York. 
GuMPLOvicz,  Ludwig: 

Rassenkampf,  1909,  Innsbruck,  Wagnersche  univ.  buch- 
hadlung. 

•  GuRNEY,  Edmund: 

The  Power  of  Sound,  1880,  Smith,  Elder  &  Co.,  London. 
Haddon,  a.  C: 

The  Wandering  of  Peoples. 
Harrison,  Jane  Ellen: 

"Themis." 
-Haweis,  Rev.  H.  R.: 

Music  and  Morals,  1876,  Harper  &  Bros.,  New  York. 
Hawes,  C.  H.  and  H.  B.: 

Crete,  The  Forerunner  of  Greece,  1911,  Harper  &  Bros. 
Helmholtz,  Hermann  L.  F.: 

Sensations  of  Tone,  191 2,  Longmans,  Green  &  Co. 
Haekel,  Ernst: 

Riddle  of  the  Universe,   Harper  &   Bros.,   N.   Y.   and 
London. 
Hervey,  Arthur: 

Masters  of  French  Music,  1896,  Chas.  Scribner's  Sons. 
Historical  Publishing  Co.,  The,  London,  Philadelphia. 

The  Drama. 
Hough  and  Sedgwick: 

The   Human  Mechanism,  Ginn  &  Co. 

•  Howell,  William  H.: 

Text-Book   of   Physiology,    1907,   V.   B.   Saunders   Co., 
New  York. 


I40  MUSIC  AS  A  HUMAN  NEED 

HuEFFER,  Francis: 

Half   a   Century  of   Music   in    England,    1889,   Gebbie 
&  Co. 
'^'o^Janet,  Pierre: 

The   Major  Symptoms  of   Hysteria,   1907,   MacMillan 
Co. 
Jencks  and  Lauck: 

Immigration  Problem,   1912,  Funk  &  Wagnalls   Co. 
Keane,  a,  H.: 

The  World's  Peoples,  1908,  G.  P.  Putnam's  Sons,  New 
York. 
KiTTO,  John: 

Palestine,  Peter  Fenelon  Collier  &  Son,  New  York. 
■">^   Kraepelin,  Dr.  Emil: 

Clinical  Psychiatry,  2nd  Edition,  William  Wood  &  Co., 
1906. 
Lanson,  Gustav: 

Histoire  de  la  litterature  francaise,    1894,   Hachette  & 
Co.,   Paris. 
Lavignac,  Albert: 

Music  and  Musicians,   1899,   Henry  Holt  &  Co.,   New 
York. 
Letourneau^  Chas.  : 

Property,   Its   Origin   and   Development,    1896,    Charles 
Scribner's  Sons,  New  York. 
Maine,  Henry  Sumner: 

Lectures  on  the  Early  History  of  Institutions. 
Maitland,  Fuller: 

Masters  of  German  Music,  1894,  Osgood,  Mcllvaine  & 
Co.,  London. 
Marx,  Dr.  Karl: 

Capital,  1909,  Chas.  H.  Kerr  &  Co.,  Chicago. 
Morgan,  Lewis  H.: 

Ancient  Peoples. 
Myres,  J.  L.: 

The   Dawn   of    History,    191 1,   Williams    and   Norgate, 
London. 
Ochea: 

Tesoro  del  Teatro   Espanol,  Tomo   IV,   J898,   Garnier 
Hermanos,  Paris. 


BIBLIOGRAPHY  141 

Reinsch,  Paul  S.: 

American  Federal  Government,  Ginn  &  Co. 
Ripley,  William  G.  : 

The  Races  of  Europe. 
Rousseau,  J.  J.: 

Du  contrat  social,  Ernest  Flammarion,  Paris. 
Rutherford,  E.  : 

Radio  Activity,   1905,   Cambridge,    University   Press. 
Schopenhauer,  Arthur: 

The  World  as  Will  and  Idea,  1907-9,  K.  Paul,  Trench, 
Trubner  &  Co.,  London. 

Seager,  Henry  Rogers: 

Social    Insurance,    1910,    The    MacMillan    Co.,    Amer. 
Social  Progress  Series. 

Seebohm,  Frederick: 

Tribal  Customs  in  Anglo-Saxon  Law,   1902,  Longmans, 

Green  &  Co.,  New  York. 
The  Tribal   System  in  Wales,   1904,  Longmans,  Green 
&  Co.,  New  York. 
Spencer,  Herbert: 

First  Principles. 

Synthetic  Philosophy,  1900,  D.  Appleton  &  Co. 
Principles  of  Biology,  1900,  D.  Appleton  &  Co. 
Standard  American  Encyclopedia,  The. 
Steiner,  Edward  A.: 

On    the   Trail    of    the    Immigrant,    1906,    Fleming    H. 
Revell  Co. 
jtorring,  Gustav: 

Mental  Pathology  and  Normal  Psychology,  1907,  Swan, 
Sonnenschein  &  Co.,  London. 
Streatfield,  R.  a.: 

The  Opera,   1907,  George  Routledge  &  Sons,  Limited, 
London. 
Sumner,  William  J.: 

Folk  Ways,  1907,  Ginn  &  Co.,  Boston. 
Symonds,  John  Addington: 

Renaissance  in  Italy,  1907,  Chas.  Scribner's  Sons,  New 
York. 
Tacitus: 

Germania,  191 1,  G.  Bell  &  Sons,  London. 


142  MUSIC  AS  A  HUMAN  NEED 

Taylor,  Isaac: 

The  Origin  of  the  Aryans. 
Thomas,  William  J.: 

Source  Book  for  Social  Origins,  1909,  The  University  of 
Chicago  Press. 
Thomson,  J.  Arthur: 
.  Darwinism  and  Human  Life. 

nThorndike,  Edward  A.: 

Educational  Psychology,  1903,  The  Science  Press,  New 
York. 
TiLLEY,  Arthur: 

The  Literature  of  the  French  Renaissance,   1904,  Cam- 
bridge, at  the  University  Press. 
Walleschek,  Richard: 

Primitive  Music,  1893,  Longmans,  Green  &  Co. 
Ward,  Lester: 

Applied  Sociology,  1906,  Ginn  and  Co. 
Webb,  Sidney  and  Beatrice: 

Industrial   Democracy,   191 1,   Longmans,   Green  &  Co., 
London. 
WiLLEBY,  Chas.: 

Masters  of  English  Music,  1893,  Jas.  R.  Osgood,  Mcll- 
vaine  &  Co.,  London. 
Wooldridge,  H.  E.  : 

The   Oxford   History  of   Music,    1901,   Oxford,   at   the 
Clarendon  Press. 


VITA. 

The  writer  was  graduated  from  New  York  Uni- 
versity in  1900  with  the  degree  of  Bachelor  of 
Laws.  She  entered  Columbia  University  in  1907 
where  she  received  the  degrees  of  Bachelor  of  Music 
in  1 9 1 o,  and  of  Master  of  Arts  in  1 9 1 1 . 

She  is  the  author  of  "The  Advanced  School  of 
Vocal  Art,"  and  of  various  operatic  libretti,  and  the 
translator  of  nunterous  published  poems  from  the 
French,  German,  Italian  and  Spanish. 

During  1902- 1904,  she  was  a  contributor  from 
Russia  to  "The  Brooklyn  Daily  Eagle,"  and,  in 
1912,  to  various  periodicals.  During  1904-1913, 
she  was  one  of  the  four  directors  of  The  Powell  and 
Pirani  Musical  Institute  of  Brooklyn,  New  York. 

In  1909,  she  was  one  of  the  incorporators  of 
"The  Public  Good  Society  of  New  York  City,"  and 
was  elected  its  president,  which  position  she  still 
holds. 

In  19 1 2  she  was  elected  honorary  member  of  the 
American  Philharmonic  Society. 


143 


INDEX 


A 

Abnormality  in  Modern  Life,  64 

Accident   at   Sea,    45 

Adaptation    of    physical    functions, 

22 
Adequate  training,   9 
Age  of  Music,  36 
Agitation,    6 

Agitation  tranquillized,  41 
American  craving  for  rhythm,  95 
American   industry,   8 
American  talent,  8 
American  type  of  music,  93 
Animals   and   musical   sound,   27 
Appeal  of  the  work,  14 
Appreciation  in  music,  33 
Aryan   appreciation,   39 
Aryan  disturbances,  39 
Aryan   talent,   25 
Auber   and  the  social  mind,  87 
Austria,    114 
Awakening   in   Italy,   67 


Civilization     and     bodily     disturb- 
ance,  7 
Civilization    and    rhythm    disturb- 
ances, 37 
Classes       reached       by       musical 

schools,    10 
Complexity    in    social    pressure,    93 
Complexity   in  music,   32-36 
Complications      in      Orchestration. 

85-87 
Concerted  volition   in   music,   34 
Concert  Tests  in  Coney  Island,  41 
Concert  Tests  in  England,   41 
Concert  Tests   in  Germany,  41 
Concert   Tests    in   Russia,    41 
Concert  Tests  in  United  States,  41 
Concert   Tests    upon    Italian    Stone 

Cutters,    50 
Coney    Island   response   to  Musical 

Stimulus,    43 
Contrasts    in    French   and   German 
re-actions,   84 


B 

Barbarism  and  its  music,  37 

Barders  of  Tacitus,  30 

Bavaria,    115 

Belgium,    117 

Bellini   and   the   social   mind,   62 

Berlioz  and  the  social  mind,  85 

Bibliography,    138 

Boildieu  and  the  social  mind,  86 

British  emotions,  69 


Canada  and  its  type  of  Music,  50 
Catholicism     and     the     ideo-Motor 

element,    51 
Characterization    in    music,    30 
Characteristic   Italian   composition, 

67 
Children   and    Sound,    29 
Chinese   use   of   music,   24 
Chopin   and  the  social  mind,  85 
Church    influence    and    the   ballad, 

91 
Church  Choirs,   54 
Church     pressure     in     the    United 

States,   94 


Dancing  a  need,  65 
Darwin's  theory  of  music,    19 
Dawn   of   musical   history,    38 
Deafness   and   carriage  motion,   48 
Deafness  and  music,  48 
Deafness   and   the  telephone,   48 
Decay  of  the  Gens,  36-37 
Denmark,  118 
Depression    and    Musical    stimulus, 

46 
Desire  for  music,  14 
Development  of   ideas,   25 
Development    of    internal    integra- 
tions,   23 
Disturbance    expressions,    24 
Disturbance  of   bodily   rhythm,   6 
Disturbances  Jieflned,  32 
Dogmatic   emotional   need,    51 
Donizetti  and  the  social   mind,  62 

E 

Economic  movements,   5 

Effects   of   rhythmic   stimulus,    42- 

46 
Emotional  forces,  5 
Emotional  products  In  music,  56 


144 


INDEX 


145 


Emotions    and    sound,    13 

England,    119 

English    composition,    69 

English    support    of    musical    cul- 
ture,   70 

Equidor,    121 

European    recognition    of    Musical 
need,    10 

Evolution  Stages  (a)  Appreciation, 
33 

(b)  Utilization, 

33 

(c)  Characteriza- 

tion,   33 

(d)  Socialization. 

33 
Evolution    of    the    Eye,    22 
Ethnic    music,    36 
Excitable  natures,   48 
Experiments,  43 


Hylobates    syndactylus,    22 
Hymnal   music,    92 


Ideo    emotional    groups,    49 
Indebtedness  for  statistics,   16 
Individual    experiments,    47 
Inspiration     in    Columbia    College 

courses,  17 
Intellectual    stimuli    of   tribal    life. 

27 
Italian   Ideals,   65 
Italian    life    and    papal    authority, 

62 
Italy,    125 


Japan's  use  of  music,  24 


Fees,   105 

First  responses  to   stimuli,  22 

First    inter-change  of   ideas,   22 

First    rhythmic    inventions,    23 

Foreign    talent,    94 

France,  81-122 

Franck  and  the  social  mind,   89 

French    intellectualism    in    music, 

56 
French  opera,  85 
French   re-actions,   81 

G 

Gens  system  and  emotionalism,  39 

Gentile    family,    36 

German   folk  spirit,   74 

German  grand  opera,  49 

German    lieder,    49 

Germanic    tribal    music,    29 

Germany,    71 

Giddings    note,    34 

Greek   Church   type,  50 

Gounod  and  the  social  mind,  89 

Group   re-action   to  music,   41 

Group  tendency  in  music,  7 

H 

Haeckel's    note,    21 

Heart   action   and  modern  stimuli, 

29 
Heroic  opera,   74 

Hindus   and   the  musical  ideal,   24 
Holland,    123 
Human     liking     for    like    musical 

motion,  35 
Hungary,   129-135 


Knightly   ballad   taste,    72 


Laws  of  motion   and   the  body,   58 
Laws   of    need,   42 
Lectures    with   music,    45 
Lectures   without  music,   45 
Life  preservation  and  music,   58 
Live    force    in   musical   vibrations, 
26 

M 

Massenet  and  the  social   mind,   89 
Mascagni   and  the  social   mind,   67 
Mean    rhythm  of  aggregates,   31 
Measurement    of    musical     effects, 

26 
Mental   attitude  of   1821,   74 
Mendelssohn   and   the   social    pres- 
sure,  76 
Meyerbeer  and  the  social  mind,  87 
Milder  stimuli  and  musical  expres- 
sion,   80 
Mission  of  music,  13 
Music    and    Motion,    31 
Music  as   a   health   measure,   55 
Music  as   a   national   need,    28 
Music  and    national    disturbances, 

60 
Music  as   an    incident   force,    59 
Music  and  social   control,   16 
Music  for  rhythm  maintenance,  31 
Music  as    an    industry,    9 
Music  in    Colleges,    10 
Music  taxation,    11 
Music  of    birds,    27 


146 


INDEX 


Music  in   carriage  motion,   48 

Musical  employment    field,    8-94 

Musical  madness,    89 

Musical  statistics,    12 

Musical  tone    in    railway    motions. 

48 
Musical  tone    in    telephones,    48 
Musical  tone   in    wash     of    waves 

48 
Musical  tone  in  winds,   48 
Musical  valves  for  American  emo- 
tionalism,  95 

N 

Napoleon's  influence  on  music,  83 

National    control    of   music,    7 

National   stimuli.    60 

National   type   of  music,    10-55 

Nature  and   music,    19 

New     combination     of     tone     and 

nerve,    59 
New  organs  for  new  stimuli,  37 
Normal    pulse   action,   56 
Normalizing   effect  of  music,   48 
Northern   immigration,    92 
Norway,    124 

I 
O 

Ocean    Grove    mental    type,    51 
Opera  comique  under  Mehul,  86 
Orchestral   complexity,    85 


Paleolithic  man  and  percussion,  36 

Panic  calmed  by  National  songs, 
46 

Partially  deaf  re-actions  to  music, 
27 

Passion   for  homogenity,   36 

Peace   and    Parsifal,    80 

Peace  and   religious   agitation,   88 

Periodic    Motions,    39 

Phlegmatic   natures,    48 

Pioneer  life  and  social  pressure, 
91 

Popular  waves  of  feeling,  6 

Primitive  man's    rhythmic  life,   21 

Primitive  speach  as  rhythmic  dis- 
turber,  23 

Proper  study  of  music,  15 

Prui-sia,    127 

Public  emotionalism,  6 

Public  school  musical  instruction, 
94 


R 

Rational     thinking    and    Gidding's 

definition,    40 
Rationalistic  group,   52 
Rationalistic  music,   52 
Real  elements  of  music,  22 
Rebellious  fanaticism,   83 
Recent  absurdities  in  musical  form, 

62 
Recent  immigration,  93 
Realm  of  musical   need,  53 
Refiective  Sympathy  and  music,  35 
Response  of    the  masses,   5 
Registration  of  rhythm,  39 
Religious   atmosphere  in  U.   S.,   92 
Revolutionary  character  of  Tristan 

1865,    78 
Rise    of    industrial    complications, 

Rossini  and  the  social  mind,  62-86 

Russia.    130 

Russian  audiences,   49 

S 

Saint-Saens    and    the    social   mind 

89 
Savagery  and  its  music,   37 
Saxony,    131 

Schumann  and  the  social  mind,  49 
Science  and   musical  study,    15 
Schubert   and    the  social   mind,    72 
Separation  of  church  and  state,  89 
Social   want,   10 
Social    welfare,    15 
Social    mind    in    France,    82 
Sociological   terminology  in  music, 

35 
Sources  of  conclusions,  41 
Sources  of  satistics,   74-99 
Spencer's   theory  of  music,  20 
Spontini       and       the       Napoleonic 

regime,   86 
State    and    Municipal    expenditure 

10 
Strenuous  years  1848  to  1860.  65 


Tension    in    strikes,   46 

Tests  among  revolutionary  ele- 
ments,   54 

Tendency  toward  musical  equality. 
36 

Theory  of  rhythm.  12 

Thesis,    7 

Toneurology,  56 

Tragedy  element  In  Italian  life, 
61 


INDEX 


147 


Tribal    life   and    rhythmls   disturb- 
ances, 23 


United   States,   91-133 
Untalented  citizens,   15 
Universal  craving  for  music, 
Utility  aspect  of  music,  33 


53 


V 

Value 

of 

New 

York 

expenditui 

res, 

10 

Value 

of 

percussion. 

23 

Value 

of  1 

music 

with 

the  dance, 

61 

Verdi 

and 

the  i 

30Cial 

mind,  65 

Vibratory  impulse,  30 
Vita,   143 

Vocalism  extraordinary,   62 
Von    Weber   and    the    social    mind, 
74 

W 

Wagner   and    the    social    mind,    50 
Wallascheks,    20 
Waltz,  social   significance  of,   77 
War  factor  in  music  of  tribes,  25 
Wave   (the)   of  emotionalism  1861, 

92 
Western   music,   9 
Working  girl's   tests,   41-54 
Working  girl's  club,   46 


14  DAY  USE 

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